Yamaha DX-1

Not that easy. The usual DX concerns apply. There is a bar graph of leds to help you here and there. No sliders or pots. Just DX mayhem. The usual confusion regarding operators and their relationship with eachother remains, as does the DX sound (love it or hate it.) This sound can be achieved on the normal DX7 which can be picked up for about #200...and that's for a nice one.

2 DX7 synths...the same as a DX5, which is the same synth, bar the wooden feel keyboard. The TX816 has four times the synth power and can be picked up for #400. The keyboard appears to be very similar to that fitted to the early Clavinovas, in particular the CVP3. That can be picked up for about #200. An 8 octave Clavinova can be picked up for a bit more. There is no sequencer or arpeggiator. It is just a synth. In fact, a DX5 (#350) with a Clavinova key action. The midi is simple and typical for a synth on its age. There are cart slots. Nuff said.

It sounds like a DX7 played on a nice, wooden keyboard. In fact, it sounds like a DX7 period. You can make your own mind up if that is worth spending thousands of pounds or dollars on. Pianos are nice as are brass, bass and effect sounds. Real instruments, forget. For 80s music it is great. You can emulate most of its sounds on a sampler. The best turn up on most romplers.

As reliable as other DX synths, which is pretty good. I am a professional synth repairer and have worked on all Yamahas. I've serviced two of these. They are well put together. If you need parts, they can be robbed off a DX7.

Yamaha are great for new stuff. Parts are interchangeable with other DX synths and can be readily obtained for this synth from Yamaha. Not specialist parts, just the standard stuff. You'd never get specialised case parts. That display looks trouble as well.

A huge, pointless waste of time. This is no wonder synth. Buy a DX5 and play it through any wooden, midi keyboard and it will sound just the same. It looks great, as far as other DX synths are concerned. A matrix 12 is cheaper, sounds light years better and looks more impressive. The TX816 will offer you so much more, sound and features wise, in just about every way. Like other DX synths, they can be picked up for peanuts. Only this one is expensive...expensive way beyond belief. The programming is not made simple by its display. The 32 note polyphony is, well ok. There is nothing special here even in DX terms. The SY77 kills it stone cold dead. If you can get past the size and stature issue, there is little to this synth. If you bring me one in for repair I will order parts for, or rob them off a DX7. It's also bloody heavy.

The DX-1 is the top of the line for DX synths. It's more of a luxury item than a functional piece of gear. Pictures don't do justice to this behemoth, to say that it is very large and heavy is an understatement. The DX-1 is every bit as large as the Kurzweil 250.
The DX-1 has a 73 note E to E piano keyboard. This is the same key bed found in the GS1/GS2 synths. In short; The ONE is two DX-7s with a piano keyboard, an impressive lightshow of a display, and certainly a backache waiting to happen (112.2 pounds). The ONE was manufactured a few years after the DX-7 hit the market in 1983. The ONE had a initial price tag of $11,900 There are fewer than 200 ONEs ever made. Just about every ONE has been owned by someone famous, as was mine, but I'm sworn to secrecy as to who that was. The DX-5 was manufactured just after the ONE was released. The DX-5 was supposed to be somehow more practical. The ONE is heavily criticized as very impractical considering it's ratio of size/weight to sonic possibility. I agree on the stand point of: if you want two DX-7 synthesizers, buy a TX-802, TX-216, FS-1R, TG/SY-77, PLG-150DX, DX-200, ETC..... The ONE isn't about sound as much as it's about art and playability. The ONE is simply beautiful to behold with it's custom wood chassis and dazzling array of LEDs which graphically display nearly every editable parameter. The only other synth I can think of that approaches the aesthetics of the ONE; is my Synclavier II. The ONE has 64 presets onboard, and another 128 via dual ROM/ RAM. It uses the same cartridges and voices of the DX-7, DX-5. Many of the presets are the same as the classic brown DX-7. The manual is well written and available for download at the Yamaha.com site. There is a wealth of patches available on the internet, as are some promising patch editor/ librarian programs.

32 note polyphony in single mode, 2 X 16 in split or dual modes. The keyboard is a wonderful traditional wooden key quasi hammer action with polyphonic aftertouch. Traditional Minimoog style pitch and mod wheels. No effects. You can detune the parts of a dual for chorusing, and delay the envelope of a part for simulated echo. The ONE has two cartridge ports for RAM 1 sized cartridges. Fairly decent MIDI implementation, the velocity is scaled 0 to 99 instead of the 0 to 127 which newer synths and tone modules use today. This means you'll have a tough time using it as a master controller. Once again; NOT the reason to own a ONE. Sorry no onboard sequencer or arpegiator. Magnificent display for FM editing.

There is still a lot of ground yet to be covered by FM synthesis. The polyphonic aftertouch gives the ONE a very expressive quality. But ultimately what can I say? "it's a really big DX-7" I still use some FM sounds live, I use a Motif rack with the PLG150DX plugin triggered via my Korg Triton Pro-X. This seems a much more practical solution to DX sounds live. Man I sure love the way my ONE looks in the studio.
The original "brownie" DX-7, DX-5, and the ONE have 12 bit D/A converters which gives a rougher sound than the 16 bit D/A of the DX-7II, TX-802, DX-7S etc.

Because of the expense of the ONE and the fact that many of them were one owner luxury items, most of them are in very good condition. Most keyboard parts are interchangeable with the GS/1 GS/2 which can be found in good condition for $200 The ONE has a sturdy action which should last for long time. As with digital circuitry, it's very stable compared to my Jupiter-8 and Memorymoog.

I've never called Yamaha about this synth. I may try it for a grin. Most synth manufacturers wish their old synths would just disappear, in order that they might sell even more of the new product line. Roland charged me $170 for $40 worth of key-contact strips for my D-70 just because they wanted me to ditch the D-70 and buy their latest and greatest synth. I remember when the Prophet-5 and Jupiter-8 were king for years. Much longer than just a season, like today's synths.

The DX-ONE resides in my collection with a Synclavier, OBX, Prophet-5, Memorymoog, Polymoog, Yamaha CS-70M, Jupiter-8, VP-330 Vocoder plus, ARP Quadra, Kurzweil 250, Hammond BCV and Leslie 145, D-550, TG-77, TX-802, JD-990. Like the rest of them, the ONE isn't as musically useful as it once was, but is still fun to play and inspiring to create sounds on. It has been a long time since an instrument was as much a work of visual art, as well as sonic art. Compared to the price when new, what I paid was a steal. Because there was less than 200 ever made, the ONEs are very rare. Expect to pay $2000 to $4000. If you think that's too much, this isn't really the synth that you're looking for

Well, I would like to say I am a DX-1 family member as well. So rare and so so so beautiful to own. I've have never seen anything as cool looking as the DX-1 synthesizer keyboard.
When I began my search for a DX-1, I really took on a big task to find one because somehow I became desperate to see it and hear it. I am really a new synthesizer player so I haven't put much time into owning synths before but have been building my synth collection. I own a Roland JD-800 and a Oberheim OB-12 and a Seil DK-600. All of these synths are wonderful to play and are all programming synths. When I discovered the DX-1, I discovered it's face contruction and it being user friendly and the only DX of it's series to offer programming. My JD-800 sounds wonderful but kinda of thin sometimes, my Oberheim OB-12 sounds very fat but not as genuine (which I believe the Oberheim Matrix 12 is the true Oberheim sounds but the OB-12 has an awesume programming display) but my DX-1 sounds just wonderful. It's is very true sounding as crystal clear. The wooded weighted keys, the key velocity, portamento, modulation wheel is just so awesume!! The patches with this synth is so cool (glass crystal, Time Warp, portobass, small boom poly, Take off, Lazersweep, Bell ting poly and more..)

This is truly one of the greatest synthesizers ever ever made. There is nothing like it and even today, it is STILL the coolest thing out there. There's nothing old fashion about this synth, it's turns heads like a Lamborghini Diablo and handles like a Ducati and built like a Rolls-Royce and Austin Martin. The DX-1 was a hand built instrument and Yamaha used the best materials Yamaha could find and they put it all together so beautifully. The wood alone is art work and at night, the light display, is really cool!

When this synth was made is was indeed, made before its time(1985). Regardless of it's weight and size, Yamaha really made and produced it best work on the DX-1 and if you ever want to own and see what the best of what Yamaha has to offer, the DX-1 is still the hottest thing they've made and on the market (but rare to find).

Owning a DX-1 and my quest to get one was my inspiration of Depeche Mode. They used this sythnesizer and the sound of their best sounds and even today, Martin Gore still uses this synth. If your ever heard of their new ablum Exciter from 2001, there are two songs called Freelove: "mini chorus mix" and "maxmal chorus mix", that has the true DX-1 sound.

If anybody says the DX-1 is too big and old, don't listen. Yes it is big but never never old. It is a true instrument and nothing about it is a disappointment. It is VERY reliable and built like a tank!! This is the best and if you have a synthesizer keyboard request list, the DX-1 is a must own. When I wanted a DX-1, I was determined to get one. It took me about 150 hours of Internet searching and e-mailed over 500 people to find one but after I did all the shopping I could, I love it when I bought it. At first finding a DX-1 last July of 2001 was dry and none were available but as a couple of months went by one came for sale, then two and then three and 4, 5 and then probably about 9 were for sale when I bought mine. The search came as the first one asking price was $4000., case and all and the owner said only 140 of them were made and felt if he didn't sell it he would keep it, and I continued on and came accross another for $3000. which I still felt desperate to pay the price but said I could wait a little longer, even though it happened to be Herbie Hancock's old DX-1, and then another from one London for $1720. but had no case and couple of others I knew that were for sale at about $2500. and $3000.00. However when I came to make a decision to by my DX-1, I somehow got a call from an owner and he said he was looking to sale his but kinda was tempted of still keeping it because it was the rarest thing out there and he loved it but through a good conversation we had, he de

It has everything you can ask for.

If you like Depche Mode, this is the keyboard to own. It is trancy
and clear as a bell.
It's programming are award winning, very easy to program and just
friendly to wok with.
It have awesume velocity and aftertouch. Real wooden keys.

You bet, this thing will last a long-time. It was built well..

Well, Yamaha deson't have much info on the DX-1 but somethings
are still avialable for it and also a couple of DX-1 family
members are supportive of information but even so if is so
reliable, so I would never really worry about it.

The DX1 is one of the most awesome looking gunships anyone could ask for. It looks like the navigation controls of an ultra?cool starship and is incredibly huge, bearing more than a passing resemblance to a CS-80 (and almost as heavy!). In 1984, the DX7 was the synth to beat and if you had the gold supply, this was the best way to it. Of course, at $11,000, you could buy a lot of other hardware (say six DX7s or a car), but when one is floating in coin, dollar signs hardly matter.
Today, the DX1 won't be selling for nearly its original price, IF you can find it. I've only seen one; that was at a Guitar Center in L.A. some years ago and guys were crowded around it like mechanics admiring the latest BMW. But it is worth looking out for. It features an excellent, weighted keyboard with velocity and polyphonic aftertouch (a rarity, even today). And you have two independent banks of FM patches, able to play 16 Voices each, so there won't be much worry about note stealing. It should also be said that it is miles easier to deal with than any subsequent FM synth as every jot and tittle has a dedicated control and the dashboard is alive with readouts and assorted twinklers (it could double as a Christmas tree).
Undoubtedly, if you had one of these parked next to the ol' Matrix 12, you'd have the keyboard equivalent of an Aston Martin and a Ferrari parked in the garage. Today's going price? I imagine $2,000 would be the high end.
The DX5 was a slightly scaled down version of the DX1 (except for the board which is three keys longer). Polyphonic after?touch is not on hand here; the keyboard isn't weighted either, but the DX5 is nonetheless an enjoyable machine to pound. The large display panel, plentiful controls, and more pleasing design make this a much better bet than the old DX7, especially when you consider the split and layer options and 32 FM notes. Prices aren't that much higher than what you'd pay for a used DX7 and it's a better buy.

DX1 (1984?$10,900 retail) -- 73 keys (Polyphonic After Touch; Split; Layer) 32 Voice (16 x 2); 6 operator x 2 (A & B); 64 patches; 64 performance memories; 64 voices via cartgidge.
DX5 (1985?$3,495) -- 76 keys (After Touch; Split; Layer) 32 Voice (16 x 2); 6 operator x 2 (A & B); 64 patches; 64 performance memories; 64 voices via cartgidge.

This has all the bell, mallet, and overdriven sounds which FM is known for. The software is not as clean as second-generation FM (found on the DX7II, etc.), but that didn't keep it from winding up on a million hit records.