Yamaha DX-7

Not the most intuitive interface, for sure. But once you get passed the obvious challenges of FM and a one-parameter-at-a-time approoach, it's not too bad. I've owned three DX7s (inluding a DX7IIFD) over the past twenty years, and I can confirm that the DX does get progressively easier to use if you stick with it. A patch editor, I'm sure, helps - but I've done all my programming on board without too much problem. Just takes a lot of patience - especially on the Mark I.

The manual? This is Yamaha, after all - known for some of the greatest, most innovative products and some of the worst, most indecipherable and useless manuals even created by man. But the DX manual is not too bad in explaining its basic functions. Look elsewhere, though, for in-depth info on FM.

A couple stand-out, especially for a 1983 instrument: 1) velocity sensitive; 2) aftertouch (!) - pretty rare at the time; 3) MIDI - the DX7 was the trailblazer here (though the implementation was pretty basic on the Mark I)

No on-board effects - but how many synths in '83 had them, aside from a chorus? (You can get a reasonable "chorus" by detuning the operators, though.)

Phenomenally clean sound; great biting leads, wonderful percussive-like patches, bells, great Hammond emulations, evolving pads; you can program remarkable responsive patches using aftertouch and/or velocity; Rhodes piano (yes - done to death in the 80s, but still a good patch)

Like all Yamaha synths, built like a tank; metal casing; no problem with gigging - or dropping. Extremely reliable. The only "repair" issue I ever had to deal with on any of my DX7s was battery replacement - after many years!

Never had to deal with Yamaha, thankfully. They're probably no better or worse to deal with than Roland, Korg, etc.

I've just sold my third DX7. A great synth, but I've found myself spending more time on my recently-acquired SY77, which has more depth at FM. The DX is a classic, though, capable of far more than the cheesy (and overused) presets heard on so many '80s records. In many ways, it was a victim of its popularity - and its relative difficulty to program. Once you get your head around it, though, it can do some amazing things.

Yes, OK, as many before have noted, the DX7 is more difficult to program and offers much less real-time performance control than the typical analog (and VA) synth. That being said, once you get your head around FM a bit - and get used to one-parameter-at-a-time editing - the DX is not all that difficult to coax some phenomenal sounds out of.

Compared to the manual of the DX7IIFD (which I also owned at one point), the Mark 1 manual is pretty good. It actually has a fairly decent section that tries to explain the principles of FM synthesis and how to apply these to the DX.

I agree with the consensus that the presets were, by and large, a mixed bag: some good, a few great, many thin/crappy/unusable. Unfortunately, many have judged the DX7 based on the cheesy "DX Rhodes" preset that were used on nearly every record in the '80s.

Polyphony, at 16 voices, was great for '83 - when all the other polyphonic synths were 4, 6, or 8. Not so hot now but it still gets the job done.

No effects - but then, how many synths from '83 have on-board effects? A few have chorus (e.g., the Junos), but that is about it.

The first synth (I believe) to implement MIDI. Very basic, though. Has an odd 0-99 velocity limitation and can only transmit on channel, though. (All of which was corrected in the DX7II.)

As many others have pointed out, the presets are (at best) a mixed bag: some good (e. pianos [not the Rhodes - aarrghh!], synth brass), some great (bells, biting leads, evolving pads), many thin/crappy/unusable (strings, guitars,). But that's not the point. The truth is that the DX7 is capable of truly great stuff: extremely realistic organs (I have a couple of great B3 emulations); biting, analog-like leads; warm, evolving pads. The presets - particularly the "DX Rhodes" sound heard on every ballad recorded from '83 to about '89 - really sell the DX's capabilities short.

Keyboard is responsive to velocity and aftertouch; good, solid feel to it (not as "plastic" as some other synths).

Well, it's a Yamaha - doesn't get more reliable than that. Built like a tank. Aside from battery replacement, never had an issue with any of the three DX7s (including a DX7IIFD)I've owned.

Never had to contact Yamaha - though I've heard they're better than most companies to deal with.

Since I'm on my third DX7, I guess you could say I'm a fan. I would absolutely try to get my hands on another one. I've been playing piano for 30 years and have owned synths (off and on) for the last 25 years. I own (or have owned)a Yamaha SY77, DX7IIFD, Motif 6, Motif ES Rack, MO8, Clavia Nord Rack 2x, Alesis Quadrasynth, and Alesis QS8. Even today, I think the DX7 can hold its own in any setup - and in any style.

Out of the box: pretty low(1). With a computer, unisyn, midiquest vst, and especially FM Alive - editing is awesome(10). I recently managed to put a Midi controller in charge of its parameters to give it knob control. Editing without an aid gets real tedious, real fast. The DX-5 has a much better interface.

1 and 10 split them in the middle

For 1984, the polyphony and the keyboard action with sensitivity and velocity, was ahead of its time. Sysex and MIDI make this board easy to implement and control remotely. I used it as a master MIDI controller for a long time.
MIDI is amazing, no sequencer (that's why I had the Roland MC-500)

No effects, but the presence of effects on a keyboard don't amount to much. I'd much rather use external gear whose sole purpose is effects algorithms to process fx. This is of course an exception with Roland's amazing on board choruses.
I love FM sounds, so I am biased. I think realism shouldn't be an object with synths. Synthesizers sound like synthesizers. If you want a guitar sound, hire a guitarist. There is a wide variety of sounds here, most of which are wild and highly unexplored due to their sheer weirdness. You can get some of the wildest unheard of noises with FM. FM is harsh and metallic a lot of times, but can be warmer with some careful programming.
The keyboard offers so much control over the sounds. Velocity and aftertouch are awesome!

No question. This has to be one of the most reliable machines in the history of electronics. I know some will bash me, but I got my DX-7 when I was 16, and dragged it EVERYWHERE. The beast is scratched all to pieces, has dents all over it, and has been dropped from all kinds of heights. The machine still works perfectly. You will have to try really hard to destroy a DX-7 (think of Trent Reznor). If your MIDI controller fails, this is your backup.

I say a 9 here. Yamaha is still helping users out with these (as reported on sites like these). The fan base for these synths is amazing. There are literally dozens of experts all over the internet with incredibly in depth understanding of these that are more than able to help you. Some electronics geeks were able to put Grey Matter in the beast.

If it were stolen, so help me, you should pity the thief if I were to find him. Also, good luck trying to run off with a keyboard that weighs close to 50 pounds. I've played the piano since I was 6. I'd love to post a gear list, but unfortunately it's grown out of control. There's too much crap in this room to list.

I love the sounds, the expressiveness of the keyboard, and the ability to have some 6,000 patches readily available to download and tweak with computer or external knob-based MIDI controller.

Other fun FM products that you should try to get: The FS1R. Get an editor, though, 2,000 parameters with 4 knobs is NOT fun, but the sound quality is amazing. Software synths are a cheap thrill, but can't imitate the discrete D to A converters. Recently, I came across the skills needed to build a Midibox opl 3 module. Fun stuff.

I sometimes wish it had a filter. Sometimes, you can get some PPG-esque noises running it through a filter (and without a filter, I might add). Most of us don't have the funds to get the blue beast, and the Cheetah is interesting but no comparison.

Tough to program. Don't like the multiple function per button thing or the action of the slider to select parameters. It's easy to skip over the parameter you want to edit.

I do like the feel of the keyboard is has good action and the fact that it has the slot for optional ram cartridges. I like the ability to switch between Mono/Poly. The velocity/aftertouch is also a feature that I like.

Very good at metallic,special effects and bell like sounds. I also like the organ sounds I can get out of it. The elec piano is good as well. It can try to sound analog but I play a DX7 and Juno 106 side by side and the Juno is much more pleasing to the ear. The Dx7 does have its place though.

Built like a tank. No other words can describe it!

Not needed.

If it broke, I would not miss it and get something else. It has it's place, but I much prefer the sound of analog synths. I have been playing for about 15 years and play everything from classic rock to techno to experimental. It can't compare to my Juno for warmth but it can fit in in many songs I play. I never did understand why everyone would rave about this synth at one time. I guess it was so different when it hit the market that people just thought they had to love it.

The fact that you can't really build a patch in your head like you would with an analogue synth is obviously a bit of a problem. Basically, it boils down to algorithm arrangements, and the manual (downsized considerably from the first-generation DX7) won't be of much help in this respect. Everything else, such as the interface or the carrier/modulator envelopes is much easier, and the LFO works just like on any other synth. To be honest, I programmed very few patches from scratch, and I think my time would be better spent just going through the patch banks from the internet, or editing the classy presets.

The fast but firm keyboard with velocity and channel aftertouch was very much to my taste, and its excellent MIDI capabilities with two data sliders sending programmable CC's make it a competent MIDI controller even today. It accepts ROM and RAM cards to expand or back-up the 128 on-board patches.

A common fallacy about the DX7 is that its sound is a matter of opinion, i.e. either you like it or you don't, simple as that. For a synth that can produce such an amazing variety of sonic textures, I think that's a very conceited thing to say. Obviously, if you're an analogue zealot, you're going to hate it just because it's a DX7 but with the upgraded 16-bit D/A converters and the poly unison/random pitch features, I have a hard time imagining anyone really hating the DX7's sound. It's versatile, it's tight, it goes really deep (the sine wave is the perfect sub-oscillator, after all), it's got lots of polyphony that it can put to good use, and it cuts through the mix better than anything else. I love it.

The DX7s is an extremely reliable instrument, and also a very sturdy one. Unfortunately, this means it's a bit heavy to lug around, especially in a hardcase (the original one was even worse). The only service my unit ever required was to replace some of the membrane buttons which stopped responding due to dust build-up, and its internal construction was so neat that I could disassemble it and take out the PCB myself in order to save on the shop's labour costs.

Being twenty years old, it's obviously no longer supported directly by the manufacturer but fortunately, the after-market service in Slovenia is good for Yamaha instruments.

The mark two DX7 is a brilliant and supremely expressive synths and ranks as one of the most well-rounded instruments ever. If I had to choose a desert island synth, there are very few others in the world - and none I could afford - that could jeopardise its number one spot.

i have an original dx-7. the presets are really cheesy, but i didn't buy it for the presets, i bought it so i could create sounds i haven't heard before. after sitting down with it 3 or 4 times i had a good grasp on creating patches. it was very, very easy for me. i used the manual a little bit, but found it more exciting to stop using it. i never had any other synth before this one, though, so if someone was used to something else it might be hard.

it has a 16 key polyphony, but the MIDI isn't very good. if you're using a sequencer you can only use one voice, and it's not multitimbral. :( i sort of wish i knew that before i bought it. you can get the greymatter e! update which makes the MIDI 100%, but i haven't been able to find one yet, unfortunately. the keys are amazing though. i love the way it feels to play it. it's very fitting and very comfortable to play.

i rememebr right away thinking that the factory presets are very expressive. i hate pressure sensitivity in keyboards though, and i like to have my sequencer play the most important parts, so i won't give an opinion here.

i would definitely use this at a gig without a backup. i have a rom cart and combined with the internal memory i can hold plenty of sounds to play live with. i've tripped over it, almost dropped it... it seems like it would hurt me more than it would hurt itsself if i dropped it.

never had to use it

this was absolutely worth $250. i would definitely buy another, but if i did i would look for one with the greymatter e! upgrade. i've only had this for a few months, and it's my only synthesizer, but it works well with my sequencer and drum machine. the only thing i dislike is the limitations in its MIDI capabilities, such as stated before. i think it's very easy to use, and that all you'd need is a fresh mind to get ahold of it... the sounds are great. sometimes it sounds really analog to me, but i'm not a synthesizer expert. i love the minneapolis funk sound, and i can get some really great janet jackson "control" era sounds on it.

I just found one behind some boxes at a music exchange here in southern CA. Whaen I ask ed about the price (no sticker) , the woman at the store said make me ANY offer. I did just that . . .
Like the last poster, I have wnated one o these since 1987. Spounds like an 80's synth, and as everyone notes - it sucks to program. There are about four or five good patches someone already modded

MIDI was supposedly put onboard before the standard was adopted, but hey, I am no Trent Reznor. I am using it as a controller, the leys work well and the bottins show little sign of use.

Velocity is okay, seems slightly delayed - there is no aftertouch.

Doubles as a weapon! this thing is a tank. I think I got a hernia from picking it up. After 20+ years and this unit works this well? Sold! Much like everyone else who posted here, this thing is bulletproof, and as such, requires no backup on the road.

N/A

Lost/Stolen - I could live without it.
Been playing since I was five , but seriously for the last 15 years on and off. I currently have a 1960's Wurly EP-100 (it's red) and a Yamaha DX7 (finally). Previously owned a Roland D-20, JD-800; Ensoniq EPS 16+(clunky); and some Casio from the early 90's.
I offered $100, and she said it's a deal before I even finished the sentence. Gotta be the cheapest DX7 ever bought! However, no expr, breath controller, or ROMS, but who cares. I needd a MIDI controller and Gutar Center has some two octave POS for $149 that I almost bought last week.

I have always wanted a Yamaha DX7 since I was a kid. I was only 10 when they first came out and remember seeing them on Top of the Pops (played by all the big bands of the day). Just last week my dreams came to reality when I bought my first DX7 off eBay.
The synth is not that difficult to programme like people say. Of course I own other digital synths (one of them being a Casio VZ-1) so I am used to the editing structure.
The synth is 16 note polyphonic which was big way back in 1983 and uses FM (Frequency Modulation) as its sound synthesis but most of the presets are crap. There are only a few good presets like Tubular Bell being one of them. To get the sounds sounding really good I have to edit and programme them myself and then feed them through an effects processor with chorus and reverb. I use my Zoom 1201 fx processor for that. I don't really read manuals so I figured it out myself.

Once I programme my own sounds on the DX7 and put them through an external fx processor the sounds are absolutely stunning, impressive and beautiful. I can get a range of sounds from Industrial distortion to ambient metallic atmospheric sweep textures. The variety of sounds is so unlimited. The MIDI is a bit basic but considering that this was one of the first synths to use MIDI it is understandable. The synth looks good aswell with its futuristic looks and the futuristic original DX7 logo written on the synth. The later DX7 logo used on the DX7s and II FD is not as futuristic looking as the old DX7 logo. The synth is also a dark brown colour.

I have to plug my DX7 into my Zoom 1201 FX processor to get the sounds sounding excellent after I have programmed my sounds to my taste. The sounds are stunning and can sound from Industrial distortion to atmospheric sweep textures. FM is my favourite form of synthesis aswell as Casio's iPD used on the Casio VZ-1.
Not only has the DX7 sound been used on pop records through out the 1980's but the DX7 has been used on television and film soundtracks aswell. It was used alot by the BBC Radiophonic Workshop in the 1980's on shows ranging from Doctor Who to wildlife programmes.

The DX7 is built like a tank. I would have to use an external FX processor with the DX7 if playing live.

Never used it

Excellent!! Classic retro looks and that excellent sound.

The DX-7 is a complicated Synth, especially if you're used to Analogues like me. Pain in the arse to program but it can be done.

You are going to have to put a lot of time and effort into this classic if you want it to shine.

The owners manual is just as complicated as the synth and makes using the DX-7 no easier (unless you read it for ages and ages).

A lot of things to keep you happy with your DX-7.

The DX-7 has a mounsterous 16 voice polyphony so there is no need to worry about running out of voices.

I don't know anything about the DX-7's MIDI but apparently it is very good.

Its a shame there is no arpeggiator but that does'nt bother most people.

So many DX-7 sound cards to get so you never run of new sounds.

The DX-7 is a unique sounding Synthesizer. Nothing sounds quite like a DX-7 (not even a D-50!).

There is a bank of internal sounds which in the DX-7 i played were all organ sounds and lots and i mean lots of external sounds to get which are on sounds cards.

The organ sounds are actully very realistic and you can edit them using the charicter button and make them sound Synthy.

I don't know anything about the DX-7's reliabillity either so no opinion.

Suposablly very good. I know the sound cards are easy to get hold of and cheap.

I did not own the DX-7 i played but i got quite a lot out of it and was very impressed with this legendary FM Synthesizer.

Get one because they just sound awsome. They are cheap, easy to get hold of and great sounding.

A total pain the the arse to edit without soundiver.

Well its unique , sounds like nothing else and has all the features expected.Full midi sopec - no worries here.

Amazing - unique frosty and cyberspace drones.Bells that shiimmer and alien bird noises.Yoiu nakme its got it but will need some work or emagic soundiver to get th ebst from it.I love its sounds - yamaha dx and tx sounds are unique and like nothing else on earth.

solid

never needed it!

Overall its amust have it few love synths and old retro gear like i do.I would advise really taking the time to get into it and also try soundiver with it.The best advice is get the cd thats sold by these guys.Its has 50,000 dx sounds and various editors to program with a pc including soundiver.

http://tinyurl.com/8jjy3

I've owned this keyboard now for almost four years since I last posted a review here and I'm back really just to say that this synth really kicks butt!

The flat control panel isn't like your button-per-function analogue synthesizer I agree but, all the buttons that are available are clearly labelled. You can't do much in the way of realtime editing on the DX7 as is the case with analogue synths or other synths with more controls, but the value slider, if assigned to an edit parameter while in edit mode can be used to alter the sound in realtime. Compared to some of the later digital synths of the early to mid 1990s, there are comparatively more controls atop this synth.

Most of the presets are pretty good, but really shine once we bring multi effects processors (or even just basic chorus and reverb to be honest). Without effects at all the DX7 sounds pretty dry but the effects add depth and make the sounds more natural to the ear.

Editing is done one parameter at a time which in a way makes things easier because you can determine systematically which parameters do what to the sound, in a step by step manner. Programming really is just a case of commiting some time to sitting down at the console and working your way through so if you want to create new sounds in a live situation, this might not be your cup of tea... but I like it and don't find it in anyway difficult - just a bit more lengthy than with an analogue-style control surface.

I managed to download a manual in PDF from Yamaha's website and printed it and bound it in the same way as the original. There is a lot of detail about the FM tone generating system, but I think this is good. I bought a DX7 because I was interested in the physics of this type of sound so for me the manual was an interesting read, which seemed clear and logical. For those wanting to edit and change the sounds straight from the box, this more methodical manner may be a hindrance. I had the manual after I found out how to do the programming so trial and error is also a winning solution here.

Also, the fact that so many people have found the DX7 difficult to program is another reason why I bought it - some commital is required rather than just being able to plug and play like you can with today's things. The additional knowledge you need to make a DX7 sound so good is ultimately what makes this synth retain its professional status more than 20 years after it came off the production line back in '83.

The DX7 is 16 note polyphonic, over the six oscillators (operators in DX-terminology). Since the synth can only handle one timbre at a time then in a lot of instances this isn't much of an issue. For sustained piano lines note-stealing will become audible but for many other types of music this is sufficient. Back in 1983 most other synths were still at maximum eight note poly, many still 1 to 4.

There are no built-in effects on the DX7 which is what makes it sound dated because it sounds so dry. By cleverly using the six operators though, all having independently controllable ADSRs, it is possible to achieve delays and echoes, and with detune, chorus can be implemented, albeit to a limited degree.

Expansion was through the third-party manufactured GreyMatter E! card which I know little about except for you could store 320 sounds in local memory (more to recover if your internal battery dies) and, I think it allowed multi-timbral operation and it could send on any one of the 16 MIDI channels rather than just channel 1 - but I can't be 100% sure - my DX7 doesn't have this.

No sequencer on the DX7 but it does have velocity and aftertouch sensitive keys. The physical keyboard itself is one of the best of its type and even after all these years the keys still retain a fluid, fast motion that caters for fast solos or the tenderest of piano solos. They don't make 'em like this anymore!

Expressiveness... this is what the DX7 was renowned for. With many of the sounds, the harder you play the keys, the more the sound will 'bite'. Take for example the preset program number 15 - Bass 1. If you play harder, the attack will become notably more sharp and achieves a sort of slap effect. The Rhodes electric piano also becomes noticably richer the harder you play the keys.

The architecture of the DX7s sound generating system is also what lends itself to the synths ability to create sounds of uncanny realism - in some respects. Take for example the sound Piano 3 (button 10). In factory default the decay length is a little short so I lengthened it a bit. By dropping the octave down so that you can reach the equivalent octave you'd get on a grand piano, you will be amazed at the way the sound decays, which just isn't possible on a sample based implementation. You've got six operators that are independently tunable, have independent ADSRs and that can be configured to create complicated feedback loops which just isn't possible on some of the more modern stuff (except NI's FM7 which is also great).

Pads were always a weak point for the DX7, but that was before effects processors became cheap. Run some of the string sounds through chorus and delay and you will be surprised at what you can achieve.

Finally, the analogue versus digital war - this is just totally beyond the point. The sound of the DX7 certainly is very unique and (sorry in advance to any analogue fanatics) in some cases much more interesting than analogue implementations. I don't think you can get the same types of animation in the sound as you can with the DX7. At the end of the day, just like any other synth, the DX7 has certainly earned it's place and I will always be a fan of its sounds.

It's also 14bit output on the DAC - so what? this adds another dimension to the character of the sound...

This is pretty well made. I had to tighten a few screws up as I could hear the metal grounding plates rattling in the end cheeks. I'm loathed to say it's built like a tank because if you put any weight on the control panel you can see it move. The whole thing is made from steel and weighs in at over 14KG but some of the aluminium synths such as the Korg 01/w and the Roland D10 feel solid even if you place excess weight on the front panel.

I would probably have used this on a gig without a backup twenty years ago but I'm not sure now as it's getting on a bit and I cannot afford for this synth to die. I would probably sample out the sounds I needed to use the most and get round it that way except being samples, you'd lose that expressive bite.

No comment

This really is a great synthesizer, made even better for those who are enthusiastic about the older, more obscure technologies. FM synthesis isn't something we hear about on the grape vine very often these days but there are countless studios out there who still rely on that famous, unforgettable sound. It came up in computer sound cards and even the Sega Megadrive had an entire FM synthesizer built into it for it's music and sound effects.

Aesthetically, I think this is a great looking machine and still seems somewhat futuristic, in an old-fashioned kind of way if you know what I mean. The membrane control panel has been a frequent gripe by many users but there really are real buttons beneath that surface that have a real click to them. The membrane makes the whole panel perfectly flat and the buttons haven't suffered the same bad contact problems as some of the other older synths like the Roland D50. It still retains professional respect - seemingly to those people who are willing to delve more into the science and physics of sound generation and praise the DX7 for its strengths rather than limitations.

Whether it's to do with the looks, the feel of the keys or just the fact that it is still the most famous synthesizer the world has ever seen, there is still a great feeling from standing behind and playing a DX7. It was a synthesizer that was built in the very heyday of the technology - at the cutting edge of everything, it took 15 years to design... How many other synths can you say that about?

I've had no problem using my DX7, but ther is one little problem. Appearantly there's a button or combination of buttons that mutes it, and I cannot figure out how to un-mute it. This has happened to both of the DX7s that I have used (though it was never me who muted it), so it seems like a pretty standard problem. But other than that, it's real easy to use and is quite self-explanitory.

All of the features are great, except not even the real owner of the keyboard can figure out how to use the memory card. But everything sounds really cool on it. You can change the pitch and the tone, and you can even get realistic car and train sounds. The laser is pretty neat, too.

All of the sounds on the DX7 are very crisp and clear, and have been prgrammed in tune. Everything sounds the way it should, even the #12 setting of flute sounds like a flute would if it went real low.

This keyboard works great for my garage band and for my school jazz band. So long as it's only used by those who know how to use it (it's quite easy to learn how) and so long as you don't press that button that it won't make a sound (unlikely that you would push it) there's absolutely NO need for a backup of any sort. It's good for bass and as a sound-effect tool, too.

I just can't get it out of the soundless mode, but other than that, it's fine.

If this keyboard were lost, I would buy it again, but I'm not all too suree that they even make them anymore, so buying a new one would be very difficult. I don't own any other Yamaha products, but I do have a Baldwin piano and a selmer guitar, clarinet, and trumpet. What I love about the DX7 is thatit's very versital and is easy to play. The only thing the I hate is that it can get muted somehow. It comes in much handiness when I'm writing music and when I need sound effects for a presentation that I can tape-record.

Just recently pick-up a DX-7 MKI from Ebay and after fixing
all the problems including electrical, I am one happy puppy!
I am using DX Librarin by Jon Morgan and let me tell you, I'm not
a music software guru, but this guy can write one excellent piece of software making the MkI manageable.
I can find not only manuals but schmatics and everything in between for this synth.

More then enough for a second keyboard with a variety of incredible sounds. Just picked up a RAM CARTRIDGE off of Ebay made by Symphony with 128 voice storage and I have more than enough voices for any type of music I play.

Without editing any of the patches I have acquired, alot of them sound similar but some are unique enough for me to include them in my voice banks.

I got this synth with a broken upper white key, a cracked side cover with missing plastic, and not working because the power supply was cracked in two. Fixed everything in one weekend and it's working ever since.
This keyboard is a work horse and it's almost indestructible.

Yamaha site still has manuals and patch related documents at their site and many other sites throughout the internet have tons of info for free.
This is GREAT!

I buy another one in a heart beat even if it was in the same condition as the one I got from Ebay. Definitely worth fixing up and using.
Started with accordion when I was eight years old, then got into guitar and now I play strictly keyboards.
Have a Yamaha DGX-500 88 key, My newly acquired DX-7, and I running everything through two Roland KC-150 keyboard amps.

It's not so easy for a beginner. When i first had it in 2001 A.D. it was really difficult to understand how to deal with all that menus. But later i've just started modding the factory presets (on my own risk, cuz i had no factory ROMs and still having problems with MIDI input). The result was that i've lost my girlfriend and started wearing BIG glasses (SHIT! - no backlight!). But hey! - you've got to love it! What i'd reccomend everyone - is to read the lectures of a man who programmed a half of the ROMs - Noritaka Ubukata. They are REALLY helpfull - explaining both DX7 programming and FM synth basics. http://www.digitalmusicworld.com/html/hardware/SynthSeminars/fm-e/index.html

The DX-7 is a whole big feature by itself. It is not only a synth but a lifestyle - you start to recorgnize it's sounds in recordings (trying to figure out the EG parameters used), and it is the one to be a lead in your keybord rack. At studio works I never use internal effects at all, but on gigs i do sometimes miss a nice warm reverb or delay. But i have them both on the mixing desk anyway. I love it's pitch bend and the mod wheels - very nice.

If you want the realism - forget about it! This is not a piano (exccept FANTASTIC rhodes), and not a string or saxophone imitating instrument. This is a synthesizer!From soft and touching pads (used by Enya in all her recordings) to a screaming distorted leads (great for a rock solos - my guitarist hates it!!! :)))))) ), from a soft moogs to a mean FAT benassi-like basses (good for drum and bass and rave lines). By the way - check out that coarse controller menu. You can make a nice techno sound modding it on the bass registers. Sounds like turning Cutoff|Reso knobs on analogue synths if you know what i mean. ((((((((ACID-ROCKS!!!!)))))

This synth can guard itself very well - it is ugly, damn heavy and really sharp edged (MK 1). No one will dare to steal it :)))))) they would better steal another ROLAND or YAMAHA MOTIF 6 :)))) I usually gig with it + yamaha 9000 pro (for strings, pianos and sampling).

Once it's sound output stuff broke right before the gig:(((( Everything was fine but there was no sound at all. I went to the Yamaha Music Gallery - their oficcial dealer in my hometown (Baku, Azerbaijan), they said that it's just an old beast, and recommended to buy a brand new PSR 2100. :(((((( Dumbfucks! Then i've found a small repair shop for a wedding-party masters where it was fixed in a 2 days for $30. If you need an adress - e-mail me ))).

I love it! This is a cult, and no one gets out of it so easy.) I'll never let it go and shurely would buy it over and over again. It's now just a part of my music and nothing would replace it. You can try using FM7 VST plug-in from Native instruments which emulates all the DX keyboards from th 7 MK to a DX 200 but it sounds just like a half of an original. If you want more info - try the www.thedx7.co.uk - lots of links and banks or mail me - i'd like to build a sort of community or something... )

The DX-7 is notoriously difficult to use for beginners, but after a bit of practice, it's not bad at all. Without a manual, I figured out how to make some fairly decent sounds out of the thing, and made better with the manual. Better study up on FM Synthesis and the Physics of sound though.

I've only programmed directly with the unit, but it's hardly difficult after some practice.

The DX-7 has 16 note polyphony I believe, and the keyboard action is soft and plasticky. Hardly feels like a piano, but the sounds are worth compensating the feel.

The DX-7 accepts ROM and RAM cards which are readily available on eBay, plus downloadable patches via Midi can be had from almost anywhere on the net. The DX-7 is capable of Midi (not sure to what extent, I haven't used it)

The sounds on a DX-7 are somewhat cheesy, and out of 32 in each bank on each card, I find myself using maybe four or five regularly on each card. The instruments are pretty fake sounding, but in a live situation, they're great, or for composing, they're even better. It is great for 80's rock, and just about anything slightly techno-ish.

It reacts to the playing with speed reactive keys, the harder you smack it, the louder it is.

It's twenty years old already, gets left on for days at a time, dropped a few times and just keeps going. I would use this thing without a backup on any gig, but I'd bring along others for more realistic sounds.

Yamaha has always been able to provide great responses to the emails. I will likely need to go in to the shop for a quick modification to accept the newer FC-7 volume controller though.

Definately worth $200, I'd purchase again if lost or stolen. I may go for the updated versions, or I may stick to the original. Depending entirely on what's available at the time.

I'm a newbie to keyboards, but find that as a bassist, they provide a lot of extra expressiveness to my composition. I love the fact that it's a DX first of all, and the sounds may be cheesy, but the features can't be beaten for the price. Add all four stock ROM cards, a few aftermarket cards and a few pedals, the DX-7 is possibly THE greatest synth ever made.

After all, programming the DX-7 is not exactly hard. The difficult part about it is getting a decent result. Even if you know what all the parameters are for and what they effect, the result seems rather unpredictable.

I've bought my DX7 about a month ago. It seems of very high manufacturing quality and has lots of features (for its time, of course). Also the sounds I get out of it are very impressive, though it's hard to aim at a certain voice and just program it.

I bought this as a controller, so I was not interested in the sound. The presets are a bit cheesy, good if you are into 80s.

Since I use it as a controller, I just took a MIDI Cable and plugged it into the MIDI out. Very easy!

The Keyboard Action is great, it's still used in Tritons and Motifs today. The wheels are very good. The 32 Buttons are nice for fast program changes. Aftertouch is there, and good to use. Breath Control avaible -> sweet.

I just stepped through the Presets.. Like I said, great for eighties. Nothing for me, though.

Built of solid metal. Sure I would gig without backup.

Never dealt with them.

Why buy crappy platic M-Audio/Evolution if you can have this for the same price.
Really nice controller... cheesy sounds, but the sonic possibilities are high.

Bought the early DX-7, (83), big move for me as I have been playing a Rhodes, Wurlizter, and B-3 and have hated the syth sound, but I need to be just a little more portable. Love the presets, but the patches are VERY time-consuming. I found the manual and LOTS of other things at http://www.math.uga.edu/~djb/html/dx7.html. Greedy people are selling manuals on ebay for 10 bucks!

The polyphony is great, the action takes some getting use to. Need to find a good source for accessories (cartridges, pedals,case,add-ons)

The DX-7 has an unique sound that was used heavily in 1977-1992, still used by pro's today!

Find a good repair guy, I use Audio Repair Specialists in Canoga Park, CA. These guys do quality work on all keyboards. Also fixed my Kurz SP-88 when Kurzweil said they had nobody but the factory to fix.Had a key return bad on the DX and they fixed for $40, and gave it the once over. Seems reliable and sturdy

Find a good 3rd party repair, although Yamaha will repair, but they will try to sell you something new.

Love the sound, am planning to study the doc's and get educated on programming, estimate 6-months+. Will always have a DX-7.

The DX-7 is known for being hard to program, and it sure is. Since this is an FM synth, you don't deal with things like oscillators and filters. Instead, you work with things like operators and algorithms. It's quite confusing if you're used to programming analog synths like I am. Luckily, if you don't want to deal with that, simply use the preset sounds or you can get extra sounds which are available on cartridges.

The DX-7 may not have any built-in effects or stereo sound, but it has a velocity-sensitive keyboard with aftertouch. The DX-7 also has a breath controller input so you can modulate the sound much like a wind instrument. It does have MIDI, but since the DX-7 was released in the early days of MIDI, the implentation is quite simple, but it does recieve SYSEX messages.

While the DX-7 maybe not be capable of analog synth-type sounds, it is however, capable of making very good percussive sounds and a few other sounds which wouldn't be possible on an analog synth. The DX-7 does well for any type of music IMO. If you want good Rhodes sounds, New Age-type bells, and various types of basses in one keyboard, the DX-7 is the one to go to.

I'd defiently gig with this synth without a backup, it's mostly made out of metal and it weighs a ton(!), not to mention the fact that it's completely digital, so you don't have to worry about the synth going out of tune and such.

I haven't dealt with Yamaha yet, but hopefully, with all the support for the DX-7 on the web, I won't need to.

If it were stolen or lost, I'd defiently miss it alot, but I would replace it with another synth, preferably something analog. It sounds pretty good as-is, but I would defiently add stereo sound, chrous/delay effects and a filter to beefen up the sound.

presets are a bit cheesy but u can manipulate them thru editing,no manual,but the person who sold it to me gave me the original dx 7 manual,it helped a bit...if you guys have a manual please,send me a copy..ianQ@eudoramail.com.or switch@thefragile.com

good polyphony,aftertouch is great.fx are godd when u kno your way around it,i have 1 card free when i bought it,dunno how to load other fx tho..i need help from u guys on that one...there is no sequencer,again the manual i have is from the 1st dx7...help:)

some instruments are good,others like brass,bells etc...i really dont need them..wat i need are heavy bass industrial synths...doesnt have that many on the cards...u guys kno where i can download these?:)it really help:)i love playing with it...velocity and aftertouch are cool!:)

dependable,built like a f@ckin tank,u can use it as a weapon also:)hahaha yeah im planning to sample the sounds and use the dx7 for back up effects/sounds live...

jus bought it a few days ago,couldnt keep my hands of it...i hope it doesnt break up...

id buy it again...or buy something more powerful...im jus starting my band,i have the boss dr 202 for beats,the dx7,and im planning to buy and sp 202 or 303?..im still deciding...if the dx7 had a sequencer it would rock my world...its the only thing that limits me and my music..but its an 80s model so what would u expect?:)

I have no idea of what software version I'm using since my DX-7 has been just a controller for the last 12 years. $2200 was a LOT of money in 1981, especially for a USED synth, but that is what I gladly paid for mine. I was one of the first in town to have one, and I actually made few bucks renting it out. I was blown away by the "crystalline" sounds, especially the electric piano ones. But, my quest at the time was for something that would approximate a grand piano sound, and I hadn't heard any synth (Prophet 5 included) that would even begin to allow one to "build" it. When I started dicking around with editing (and yes, I did go slightly insane as many others have), I began to see some possibilities. After 6 months of editing (2 hours a day, every day), I finally came up with what I thought was a passable grand piano patch (I listen to it now and cringe). I had heard other attempts at same from other DX-7 hackers and wasn't impressed. One guy in Nashville had gotten some notoriety from his piano sound. Mike Meros of the Beach Boys sent it to me and I thought it blew. I put an ad in Keyboard magazine, offering a detailed printed sheet of the parameters for $15 or programming any memory carts sent to me. I actually made about $200 selling my "Grand Piano" patch. The manual? What a joke........

I'm a guitar player, and MIDI wasn't something I cared about or bothered to learn until years later when I set up a production studio at home. I've always loved the action of the DX-7. It isn't "spongy" like alot of other synths, and has a very firm "down-stop" unlike most others as well. The biggest problem I am having now is with the velocity range, especially using it with GIGASAMPLER. The DX-7's velocity output is limited from 16 to 109, and is somewhat uneven throughout that range. You'll get increments of "1" from 16 to 29, then the increments increase by 4's, and finally 9's. GIGA users will tear their hair out, especially when trying to use REAL GIGADRUMS and the DX-7 as a controller. No effects, no sequencer. Polyphony is fine (from what I can tell). I never bothered with any expansion stuff, though the "E" thing was all the rage back then.

Hey, there's TWO "S"s in "EXPRESSIVENESS".........The DX-7 was one of the first to have "aftertouch", but I never benefited much from it. The presets were all very "bright" (digital M synthesis...). I especially liked the organ and electric piano sounds. some of the brass wasn't bad...for 1980!

My DX never gigged, so I can't comment on reliability. One time, I had a problem with the keyboard not responding from C-0 ( I think....) up to C-1. So, I took the thing apart. Anyone who has ever taken apart a DX-7 understands the true terror of such an undertaking, and I was convinced that mine would never work again after getting it apart. But lo and behold, there it was - one tiny wire that had been jarred loose from a PC board. I resoldered it, put the thing back together, and....it worked!!

Nada to all above

Don't know what I'd replace it with. I have been looking at other controller possibilities (and would appreciate any input from other GIGA users). again, I am not a keyboard player (thank God for sequencing). The only other keyboard I ever owned was a Rhodes suitcase model which I sold for $200 (and should have been shot for doing so). The DX-7 was the talk of the town in 1981. But when I heard the Prophet 5 a year later..well, I could never have afforded the $5000 that they cost. Overall, my DX-7 has served me well. It's helped me produce hundreds of jingles and msuic beds....paid for itself a thousandfold.

Some 10 odd years ago I bought a TX-7 and a Roland MKB 300 to complement a midi Gulbranson organ and our acoustic piano. I am a keyboard soloist, and at that time I previewed 1000 odd patches selecting selecetd 32 but confined my "playing" to about 8:
- a couple of Rhodes patches ... these are wonderful with some sustain (I do not have reverb)
- an e-Piano patches ....this can complement the thich Gulbranson "theatre organ,
- a Vibe patch ... not strong or realistic below middle C, an equalizer might help
- 2 Bass patches ... OK for effect and intro phrasing,
- a trombone patch that is great as a jazz band! and finaly
- a Jazz Guyitar patch ... this patch has GREAT potential ... but as the MKB-300 has very little "shock-absorption" hammering its keys for the "attack" abuses the finger joints !

No comment as I use an MKB-300

The Jazz guitar, e-piano, rhodes, and trombones are terrific, especially when layered with my Gulbranson. Here you can ripple a jazz riff or play 5 note chords with touch, sustain and tremolo that rival the big bands!

Well I stoped using my "stuff" about 8 years ago. For the 1st two years it was just fine.

Now I am starting up again with XP and USB-Midi.

I am habituated to keyboards and I find that many patches are not suited to a "player". That said, those that are, are no longer a match for the $500US sound modules that are available today.

As a player, I am looking for more reverb and reality in the instruments (patches) that I have mentionned above.

I will keep my TX-7 and MKB-300 uintil I win the lottery!

see others.

enough for that time.

no other choice.

oh yeah

The legand.The sounds of the 80's.kicked M1 and D50 alive on the road and studio producing numerious original sounding hits though it was older. I grew up in asia in the 80's.all the songs and solos are mostly done by DX7,(jupiter 8 and 4 for some exeption).In live every KB player wanted one.they were not satisfied when SY22 came out with sample playback idea.For the look ,it was hotter then hell even until now.Extremely pro looking yet stylish and giving you 'only pros can touch me' look.Those algorithms plate ,under keypad(cool green),the letters,pitch,mod wheel ,all were well done.thanks to design engineers. I've seen it alot on TV and live but my first experience was a knock out awesome.I was there to record and there were an Ensoniq(Mirage I guess),and a Korg Poly ,and DX kicked all of of them. If you have a chance to get one ,grab it. And if you are a pro KB player,have a DX and the racks rather than some funny looking Triton or keyboards from 90's.You will look like a pro and sound like one.Even all pro KB players will respect you. Enough said.

Original version.... early 1980s
Presets are kind of weak, but there are so many downloadable patches for these that really sound great, notably Rhodes and organs.. Download DX manager. It makes SYSEXing a breeze.

Polyphony... don't really remember. Keyboard action is really good. Semi weighted (synth action) keys. No built in effects. Can only take the original RAM and ROM cards.... the only way to get sounds in or out is via MIDI. No sequencer. They sold almost 200,000 of these, they're built like a tank. Even my girlfriend could not wreck it.

Rhodes and organs sound really good. Bass instruments (contrary to what vintagesynth.com sez) I think are weak. Subtereanean sounds get really warbly. Velocity and after touch are good!

Really really reliable. Would (and have) gigged it with no back-up. I'm primarily a bass player, use it for keyboard bass and some hits.

Only dealt with Yamaha customer support once, it's too old for them to support. Their support was HORRIFIC. Total jackasses.

I really like it, works well for a MIDI controller, although program changes do not transmit. Despite the keys being distractingly noisy, the feel is really good. After all, these sold for KING CASH when they were new. Easy to MIDI sounds to it, lots of people still use them!

No software - just buttons. Ya gotta know what yer doin'! Once you do it's a very happy world.

MIDI of course, is not "up to spec". It was one of the first...

It's a Real Synthesizer! Anything sample-based (almost everything, nowadays) is second generation sound, of course.

Had mine 20 years. No problems ever. Not even a battery replacement.

Pretty helpful. I had some questions when I was trying to decide between TX802/816 TG77.

It's a monster. It can do everything you'd ask from a true synthesizer.

Many specific details of this instrument have been covered numerous times, I'll spare you the redundant reading.

<c:

So what's so difficult about the user interface of the DX7? If you are patient and really interested in FM synthesis, you will begin to grasp the DX7 in time. It will take a bit longer to learn than some of the other digital synths out there, but if you love FM it's worth the learning curve. One big boost in learning FM with the DX7 is to commit yourself to load a patch manually, using a data sheet. There are approx. 140 parameters to enter for one patch, it takes awhile. However, I guarantee you will begin to understand the synth better if you take the time to do this.

For those who would rather edit and create patches on a computer screen, there are software editors available that make the synth more 'visual'. I'll rate the ease of use at '7' because each function is directly available on the keypad, so are the patches. Seems pretty intuitive to me.

The keyboard action on the DX7, among semi-weighted keybeds, is among the absolute best. A perfect 10 for playability (weighted keybeds are nice, but packing them around is not for me). Once you play an instrument with the Yamaha FS action (DX7, Korg M1, Triton Classic 61, Motif 61) most others feel lifeless and disappointing. Some of the Rolands (Fantom S 61, XP-60, D50) have great keybeds as well. For me, this is one of the most important features of a synthesizer... if it feels cheap or lifeless, I'm not going to be inspired to play it often. The DX7 needs an outboard effects processor. No need to spend a fortune, an Alesis NanoVerb for $99 is enough to give basic chorus, reverb, delay, and rotary speaker. If you play an assortment of decent DX7 patches for the first time, in mono, no effects... you will be uninspired. Now add effects, something simple, even if just a touch of stereo reverb, and play the same patches. Night and day difference. A bit limited as far as features these days, but hey - 20 years ago, nothing could touch it.

Between the sounds loaded on the synth when I got it, my editing, and loading banks via midi, I have a soundset that I'm reasonably happy with... I gig with a loud rock band and use the following types of sounds: piano (not great, but I've heard worse from newer instruments), electric piano (not the over-bright 'Fulltines', but a mellow, warm FM epiano), flute, organ, strings, perc synth and poly synth type leads, and (my favorite ) Wurlitzer patches.

Seems that some of my favorite sounds, which I would call 'warm' sounding, have a bit of aliasing noise... maybe the DX7 cannot sound warm without some aliasing. I may try a DX7 II someday to see if there is a difference in the aliasing noise.

Responds to velocity and atertouch like nothing else (except the models stated above).

Can you depend on it??? This thing is 20 years old and works like the day it left the factory. It is absolutely the benchmark for reliability, hands down, no contest.

I have to gig without a backup because I can't afford one and wouldn't want to pack an second board anyway.

Customer support? Never dealt with Yamaha, never needed to because they built this product right (as with all Yamaha products).

A product that never needs support... That, my friends, is the ultimate in customer support.

If lost or stolen I would buy another DX7 or DX7 II immediately, and ask almighty God to have no mercy on the soul who took my DX7.

Been playing keys off and on since 1986, recently got serious again and started gigging (primarily play bass, but migrating to half bass, half keys.)

In summary, if you use effects with the DX7 and are interested in FM, you will enjoy this instrument. Guaranteed.

I am not using any software. I am downloading FM-Alive as we speak to try it out. I like the programming structure. Once you visualize the waves in your head, programming becomes second nature.

Love the feel of the keyboard. Synth Action with aftertouch and velocity sensitivity. MIDI is a little slow for modern soft synths (does anyone know how to fix this?). very flexible if you know what you are doing.

Instruments?? I dont think it has 'instruments' its just waveforms made to mimic waveforms, not sample playback. OH yeah! Talk about the 80s. I may have not have lived to see the 80s, but I have heard LOADS of records with these sounds on them. Great stuff!!

EASILY!! This thing can fall from the stage and still keep on working. It can be dropped and still work. It is a tank. I accidentally knocked it against a brick wall. It marked the brick wall (but the white paint was still intact)
YES! My DX-7 is WHITE!!!!

Never worked with Yamaha. But there are HUNDREDS of people who can help with your DX-7. If it breaks and you cant get it fixed...get a new one on EBAY!!

Great board. I use the basses and analoge simulations for my music. Killer electric piano capablilites.


me: kajafan86@playful.com
yup, born in 1986..my DX-7 is older than I am by about 2-3 years

i own a first generation dx7 which i bought for a measly 175 EUR.
i was very surprised that editing patches is ... well, not as easy as on any old anlogue, but can actually be quite fun even for a novice to fm. the quality of many random results is rewarding in itself, and very inspiring. i have a manual but was too lazy to read much of it. my prime interest is to create interesting sounds and record them right away without midi.

since i don't use midi and g'have other gear for what the dx7 can't give me, i'm happy with what i have here...

with a little programming time it is possible to create breathtakingly beautiful ambient pads, drones, and percussion fx. when i use a preset, i try to at least modify it via "algorithm select", or tuning - and i can't complain it sounds cliched. i would be nice to have some realtime tweaking control, but most of the time i don't miss that very much.

yep i think it's sturdy enough for that.

haven't used it

i'd totally get one again.
apart from this machine i use yamaha cs -60, - 50, and -30, roland jupiter-6, -4, micromoog and miscellaneous small synths.

don't be fooled by people saying they are soooooo hard to program. that's not really the case. have fun with what it can do and - at the low 2nd hand prices - check it out.

IF YOU USE THE PRESETS, NO PROBLEM...IF YOU WANT TO PROGRAM IT--KILL YOURSELF!!!!

FEATURES ARE OK FOR 1983

HAS ABOUT 3 GOOD SOUNDS IN IT---ALL OTHER FACTORY SOUNDS ARE HORRIBLE, ESPECIALLY THE STRINGS....LIKE I SAID: FORGET ABOUT PROGRAMMING IT---IT'S TEDIOUS AND NOT VERY FRUITFUL!!
(DON'T USE IT FOR BASS SOUNDS OR LEAD SOUNDS--YOUR MIX WILL SOUND EXTREMELY CHEEZY)
BUY AN ANALOG SYNTH!!! SOUND GREAT, AND MUCH MORE FUN!

GOOD

OVERRATED. BORING. COLD-SOUNDING. STERILE. THIN, AND IMPOSSIBLE TO PROGRAM!!--GARBAGE!
DO YOURSELF A FAVOR AND GET A PROPHET-5 ( A REAL SYNTH )
WANT TO HEAR SOME OF MY TRAX, MADE WITH ANALOG SYTNHS??? GO HERE:
WWW.SPAZZOID.COM

REENO
SPAZZOID ENTERTAINMENT

The DX7 (IID is the one I have) is a great synth. For me, the best! Let me tell you something about sociology, since i am a sociologist. There is a phenomena called cognitive disonance, and its actually about this: check all this sites and you will find: the people who pay less money for something, tell it's crap, and the ones that pay a lot adore it! It's a known fact! So, the DX7 is NOT easy to use, but if U have a brain, you'll figure it out! Also, the two operators make great sounds and it's not difficult, you just squeezee the button and voila! I guess this is a feature of the IID, and not the first one but who cares?! When someone comes into my studio and sees every great thing from the 80's there, they know I mean bussiness!! Also, it's a synth used by Brian Eno (the only one!), Daft Punk, U2, Kraftwerk, and many others, so what are they, like, loosers?!?!?!?!

Personally, the only thing I don't like about the DX7 (but totally personal reasons) is the keyboard. Everyone adores it, but I guess they wanted to make a good piano-like keyboard, and I hate to play synth sounds from a piano keyboard, its really weird. Synths need to have softer keys, I think. But I use a evolution midi controller with it and the combo is incredible! Also, we tried to connect Native Instruments FM7 with the DX7 and you wouldn't believe those sounds. So, the people here talking about controllers are really funny! Want a controller?! BUY A CASIO! Or a real CONTROLLER like a Evolution or a Roland, MIdiman Oxygen 8 is good too, but the DX7 is all about SOUND!!!! I have a full cd with sysex, and you can find them anywhere on the web, there are a lot of sites about the DX7.

THE BEST! I was born in 1978., so I cry each time I play one particular patch and then use the pitch bend (for instance). You probably all know it: "Eyes without a face", Billy Idol. Every other song from the 80's was made with it, the best songs ever! And the IID is 16 bit 44100, cd-quality.

It's a tank!

Awful

It's simply a legend and there is a reaosn for that! I've compare it a lot, but it has no adversary! Contact me if you need software for it or sysex

Presets are crappy, editing patches is a torture. Everything hidden away in menues, without some sysex tool you're lost. Crap.

Keyboard action is pretty good, no complaints there. Would be a good controller. Only too heavy. Expansion cards possible, but the contacts need cleaning and corrode easily. Unimpressed.

Most overrated synth I've ever had. Sold it quickly. Presets are crappy except for two effect sounds and the electric piano (that's a classic, of course). But even the e-piano left me unimpressed. Reacted nicely to key-pressure etc. but I've got better e-pianos in cheap expanders. As for fatness: it can't come near analogue stuff, so why bother. As for digitalness: maybe if you spend half your life reading fm-books you'll be able to tweak it into something good-sounding. I was more impressed with the tg33 module. Much better effect sounds. I think the DX7 is the most overrated synth out there. Forget it.

Metal case. Well built. Problems only with the cartridges and the cartridge slot and with the rubber buttons. Scores well. Like those old and ugly shoes one had to wear as a kid: the uglier, the longer they lasted. But you can still use it to smash building in. Best use for it.

Never dealt with them.

I resold it (for 170 euros hehe. Thank God it's got "cult classic" status, there are always fools out there willing to buy rubbish once it's labelled classic.) If you consider buying it: check cartridges, check buttons, and, above all, check sounds. Then run. If you need a controller you don't want to move and can pick it up cheap - o.k. If you need a synth you can actually use: almost anything is better than this. I bought a tg33 afterwards, these things are cheap as dirt and have more possibilities and better sounds than the dx7. Overrated piece of shit.

I haven't started with the editing or programing yet, just downloaded the manual online...this is not light reading, but you can following along.

Now what I came across in a little pawn shop in was this DX7 with a E! Grey Matter card!!! How fuckin' cool is that? The bad thing about it is that I didn't know a thing about keyboards!! I'm a guitar player trying to put another instrument under my belt. So after investigating online about this keyboard and the E! card, I went back to "haggle" over the price. (he wanted $450, I got it for $350). My DX7 E! plays wonderful, vintage 80's sounds! The keys are great and still have wonderful action.

Now some of the instuments are cool, not bad but you know it ain't the real thing. The pitch and modualation wheels are on the money and programable! I think it reacts very well to velocity and aftertouch, shit! this keyboard was built to last! I know this synth has seen a whole lot of work but this bad-boy is sturdy.

As I stated this synth is old and still plays wonderful, so I honestly believe this "ironman" of a keyboard is dependable! I've played with guys who owned them when they came out (reason I jumped on it when I saw it in the pawn shop) and they would always praise this synth, now I know why! As long as the battery is fresh, you can gig without a backup.

I got what I wanted (the manual, downloaded from the site). Other than that I've never used them...hopefully I won't have to either.

I know the DX7 are now consider "classics" and with the fact that you cannot get the E! Grey Matter card for it anymore (no longer manufactured), just makes this gem more valuable to me. I don't know if I would replace it if stolen, but I will make damn sure it is not in a situation that someone can steal it!! Been playing music for years, Keyboard? just got into them. I love it, nothing about it for me to hate, I knew what I was buying. I will buy another synth (a new one) in the future. It didn't come with the RAM/ROM Carts (one reason why I got it a little cheaper), but I founds somebody selling them...still looking for more. I'm still experimenting while using it to learn to play keyboards, plus I use it for recording in my project home studio. Great classic synth, with or without the E! card I would had bought it for nastalgia reasons because they sounded so great in the bands I played in back in the 80's.

If you find one, get it! If you have one, keep it! NUFF SAID!

I dont really have to say much here really as so many people love it. So do i. Its not that easy to use. Programming takes time to learn. Well worth learning to program.

No built in effects, it sounds great with chours & delay. Good midi.

Classic 80's sounds. It will work with all kinds of music I have used one for ethnic stuff too.

Built like a tank!

Yamaha are good with customer support for this product they are very proud of it.

Wonderful!

I actually have a DX7s (two of them)
I just bought on ebay,the DX7 Voice rom #4, which has on it "A Orchestral & Percussive Group", and "B Complex & Effects Group (nb82830)."
I am trying to collect all ROM and RAM cartidges that are out there so I can have a full selection of new sounds at my finger tips.
But I want to make sure they all are distincly different from each other in sound.
What is a RAM cartridge anyway?
Also I am looking for the adapter that allows me to use the DX7 cartridges in my DX7s keyboard.
Thanks
Mark

After finding this gem in a pawn shop I brought it home and plugged it in. Yuck. All the patches had been messed up. I went looking on the internet for oem sound modules. Not much luck, until I found a DX7 editor
and 4848 different patchs. I was able to load my choice of patches into a bank and inject them via midi. It was better than Christmas. Now I am able to get vintage sounds of the 80's as well as modern sounds.

I'm not into programming yet. I have four keyboards I use to perform solo and with a band so I have been learning the songs. But with my almost 5,000 patch library, programming can wait till I have time. The features my DX7 provide are more than enough.

Touch sensitive and very expressive. The pitch bend and mod wheels are very nice and I use it to solo with a B-3 sound. It ROCKS!!!

I haven't had a bit of trouble so far (Knock on wood) The nice thing is it's built like a tank and I've seen some really abused DX7's still cranking it out night after night. It's a workhorse synth.

Yamaha was very nice but not much help.

Overall I give it a 10.5 With a wealth of on-line patches and a fan base that is world wide, I would say the DX7 is here to stay. If it were stolen I'd get another tomorrow. In fact, I will be looking for more DX7's in every city I tour this fall. I also play a KORG i3, (Try finding an on-line manual for that beast) a Roland JX-3P, and an Optimus MD1200 from Radio Shack. (Don't laugh, it have a very realistic sax patch and the strings are A+) As far as I can tell my DX7 is a long term relationship keyboard, and I'll keep it till death do us part.

Is a DX7 really easy to use ? Without manual and further literature
it is a heavy beast.Because the user does not know what FM really is.
On the other hand,the DX/ is now really easy to use,caused by the
massive Internetresources.

The DX7 is the most sold synth ever,and also it is explained like that.
The manual itself is not a big help,because FM is explianed very
rudimentary.
FM like PD is not an intuitive Synthesizer like the anlog fraction.
Just twiddle a knob and get a sound of it.This is not FMs sense.
On the other hand FM offers a new dimension to synthesis.

The DX7 itself is easy to use.But when going to programming,the DX7
can be nervecracking.For these ones,who do not know how this synthesis
works.
At least it must be said,that the DX7 is easy to use.
The library of DX sounds is maybe bigger as the Bible.

Well the original DX7 offers 32 algorithms with 6 operators.
It does not offer the Microtuning,wich the DX7 II had.
Also Velocity goes in Midi only to 100.
The EGs are to rudimentary.Better as simple ADSR,but miles away from
Casios eight step EGs.

You have 32 algortihms to shape a sound.This is immense.But these fine
algorithms lack power by its limited EGs.
Nevertheless the DX7 offers a wide varity of sounds.
If you want to hear a sound,wich is like a frying pan clutched into your
face,then the DX is something for you.
Forget imitating sounds of natural instruments.Each cheap sampler can it better.
The DX is well known for its percussive sounds and weird FX-sounds.

The DX7 was a masterpiece in "Mass"-Synthesis.A decade before John
Chowning developed this synth.His "Sabelihte" shows all what FM can
do.
Yamaha launched later on the SY77/99 series,but only the underrated
FSR1 brings FM to new light.
So if you want a modern FM synth,choose the FSR1,if you want only
nostalgic FM Sounds,then choose a DX7.

Well,my Casio VZ1 works still at new.
I am a great smoker and also does not handle such devices with gloves.
The DX7 is not as reliable as the VZ.
But anyhow,the DX is still in good condition.

Yamaha has usually a good support,also for models wich faded away
in nostalgia.

The original DX7 is still a good buy.You have the biggest synth library
outside.Maybe millions of sounds has been already discovered.
The DX7 is a must have synth.
It only lacks in EGs.There was Casios CZ and VZ series much better.
But PD and FM are not similiar.Anyone who tries to tell it to you,kick
him to outerspace.....Like Bin Laden.....

Forget this old DX typical sounds and try to develop something new.
The DX has the possibility for that.

The biggest advantage of the old 80ths synths is the enormous potential wich is still not researched at all.

Before wasting money for a virtual analog synth,take a minute if
one of this academic synths can not do it better.......

Well, for my first synth it was an enigma. But i was able to find and print out the whole manual, and after going thru it a few times i kinda understand how to program it. The miniscule screen doesn't help make it any easier. I'm partial to analogue and computers, so it was quite a trial.

I'm making some crazy metallic noise come out of this thing. It's also my controller, and it seems to be working good. I could care less about it's mono output, if i wantit in stereo,i'll fuck with it in Soundforge.

Very cool, if you can crack the cryptic interface. I belive this is really great board that could fit into any style of music if patched right. I haven't ran it thru any external effects yet, i'm still grasping it's sounds as they are and i don't feel the need yet. There are thousands of patches to download

This this is a beast. It could take a shotgun blast in stride. I'd gig with it in a war zone without fear. Well, it's not completely flawless; my F2 key is acting up, but i bought it that way.

well i printed out themaual rom Yamaha's website and that was all i needed, so what the hell i'll give Yamaha a 9

if it were stolen i'd find the asshole and put the fear of god into him. I just really started getting in to real gear, computers just don't feel right. I think it has more good karma in it than any computer could have. I was obsessed with synths and this was one. When i walked into my local small shitty music store, lo and behold, the DX7. I was overcome with a madness to purchase and made some girl i go to school with take me to my bank to get money. For only $230 and the incredible varitey of sounds, it's gotta be one of the best deals around.

I considered a DX7 about three years ago and was somewhat disappointed by its sound, but the opportunity to buy one came up again in May 2001. This time it seemed to sound so much better, and was in very good condition too (just a couple of superficial scratches in the paint here and there). In the first three months of owning this synth I was already creating custom patches which were sounding good - some synth sounds, and some good perc organs and electric bases. It's lots of numbers, but the key is to find out which numbers to what, find out which algorithms produce your favourite sounds. The more you play around with programming this synth, the more attached you will become to it's unique personality. The screen isn't backlit but so what, you haven't got to worry about the bulbs burning out!

16 note poly mocked everything else that was around in 1983, it was a huge amount of poly for it's day. It can get burnt out quite easily on heavily sustained pads, but for most jobs, it's enough. The DX7 was the first MIDI synth created, and could only transmit on one channel at a time. If the DX7 is your only synth and only sound source then this can be extrememly limiting, but because it does have MIDI capability, it is perfectly usable as a studio master keyboard. The keys have a fantastic movement to them (and don't get jammed up like on some synths), so you can also use the DX7s keyboard to control other synths as well.

In general the DX7 sounds are fantastic. OK, so if you want to make swirling, whispering analog pads then you aren't going to get what you want from this synth, but I have found that in comparison to a lot of modern, sample based synthesizers, DX7 excells at creating bass and organ patches. In my keyboard rig, DX7 is the first one I turn to if I want that perfect jazz organ program. My only one gripe about the DX7 is that it has no internal effects. Even a basic reverb would have been nice in-house, but this can be compensated for since most decent keyboard amplifiers usually have a reverb control on them. Also, some sounds through certain amplification systems have a digital buzzing sound in the background. On some piano sounds, this is quite apparent, but can normally be EQ'd out with an amp or mixer.

Fantastic build. This was one of the things I always liked about the DX7. It looks cool because it's built so well. Many people have complained about the membrane control panel, by my experience has told me that this control surface is definitely a plus point. The buttons are still physically there, below the membrane. You can still feel them click like normal buttons, but the membrane stops any dust getting in. I think it's a fantastic idea. perhaps I wouldhave opted for hardwood end cheeks, but then in 1983, that was considered a feature on old fashioned, analog synths, and at the time was totally out of fashion.

I have never had to consult Yamaha as yet for any problems relating to equipment

I think the DX7 diserves nine out of ten. The more you use it, the more you realise you just bought one of the best synths ever made. No wonder it was so famous in 1983, but why no one could program it is beyond belief. Many say it was related to the fact that many synthesists were bought up on analog technology with knobs for every function, VCOs, VCFs LFOs and all the other analog quirks. DX7 lost all of these to it's flat profiled, parameter based display. I started synthesis programming with a digital Korg, and actually found that the DX7 was easier to program. The sounds on my Korg were too good to edit, and that is why I chose DX7 - so that I could make it sound better.

USING A PATCH EDITOR HELPS - LINKS FROM SYNTHZONE.COM ARE GOOD
MIDI IS EASY (ONLY ONE CHANNEL)
MANUAL CAN GET A SLIGHTLY TEDIOUS

ONE THING I THINK YAMAHA GET RIGHT WITH THEIR GEAR IS THE KEYBOARD,
I PLAY "GRAND PIANO ONE" SOUNDFONT WITH THIS VIA PC AND IT CAN MAKE THE HAIRS ON YOUR NECK STAND UP!

THE DX7 SOUND, ALL ITS BAD POINTS (MONO, 24BIT ETC) MAKE THIS BABY SOUND BRILLIANT

THIS IS HOW ALL KEYBOARDS SHOULD BE BUILT - LIKE A TANK!

ONLINE MANUALS THAT IS ETC!

WHEN THE DX7 FIRST CAME OUT, I WANTED ONE SO BADLY BUT MADE DO WITH CHEAPER MODELS SUCH AS CASIO'S CZ1000 ETC. 15 YEARS PAST BY UNTIL I GOT MY HANDS ON A MINT SECONDHAND MK1 DX7, THERE IS SOMETHING ABOUT THIS THING THAT GETS UNDER YOUR SKIN - ITS FANTASTIC. MY ADVICE TO ANYBODY WHO'S LOOKING FOR A SECONDHAND CLASSIC OR A CHEAP PC CONTROLLER, SHOP AROUND FOR A DX7 (I'VE SEEN THEM AS LOW AS #80 UKP)
180,000 OF THESE WERE MANUFACTUERED - THERE MUST BE SOME IN BRAND NEW CONDITION - BUY ONE - OPEN IT - USE CONTACT CLEANER ON ALL MOVING PARTS - POLISH IT - PLUG IT IN - PLAY IT - AND NEVER SELL IT!

It was kind of tricky at first, but once i downloaded the manual and fucked around with the thing a little bit, I got the hang of it.

same as the rest

The sounds are amazing. I have wanted a synth for a long time, and at this price it was perfect. I am mainly a bassist/guitarist who is heavenly into Industrial and heavy metal (old shit, not new - deftones) and this is perfect for what I want to do. I am going to start my own band (which I will be doing all the instrumenats) and this keyboard this perfect for what it is going to be.

This is an older synth, but it's built like a tank

I have never dealt with Yamaha

If this was lost or stolen, I would hunt down and savagly murder the fucker who stole it. It is an amazing synth perfect for industrial. I am getting ready to start working on some of my own material on bass and guitar soon, and the DX7 is the perfect tool for the kind of music I am into. For right now, this in the only synth in the world i want, but someday I would like to get some accessories for it.

L'approche du DX7 peut sembler difficile pour un debutant notemment dans l'edition des sons mais dans l'ensemble, l'interface du DX7 est relativement simple et l'approche est relativement commune aux instruments Yamaha de l'epoque (RX15...) Le manuel est en anglais ce qui pose des diffucultes aux non anglophones dans l'apprentissage des fonctins du DX7.

16 voix de polyphonie
Dump permettant l'echange des banques et des fonctions entre plusieurs DX7 et accessoirement de sauvegarder les sons sur ordinateur quand on ne dispose pas de cartouches RAM
L'edition FM bien depasse aujourd'hui permet pourtant d'obtenir une tres grande varietes de sons.

MIDI : IN / OUT / THRU : Attention toutefois, le DX7 peut parfois poser quelques problemes lors d'un DUMP (MIDI DATA ERROR!)

Pour autant Conservez votre DX7 car il est un tres bon clavier maitre notemment grace au clavier sensitif.

Les pianos electriques sont imbattables et sont rarement biens reproduits sur les expandeurs ou claviers actuels non YAMAHA. De tres bons sons de basses, d'orgues, de cloches. Les fonctions d'edition du DX7 permettent de creer ou de reproduire une tres grande variete d'effets.

En ce qui concerne les sons, le DX7 etait LE synthe de reference dans les annees 80

Avec un processeur d'effets, le DX peut parfaitement etre utilise aujourd'hui en combinaison avec un expandeur recent (type Roland SC 880 ou JV) et un logiciel sequenceur comme Cakewalk.

N/A

J'utilise aujourd'hui le DX7 comme clavier maitre et en complement avec un Roland SC-880, un Roland P-330, un studio numerique Roland U-8 et un ordinateur.

When I got this, there were no ROMs included, and the battery had just been replaced, so there were no sounds in it. Luckily, the Internet has an abundance of patches for it, so I got some sounds pretty quickly.

The menus are few and easily understood, but the tutorial in the manual is a waste of time. Although I would never be able to program any patches like the ones Yamaha did themselves, FM synthesis is quite easy to comprehend, once you start experimenting.

I only wished, the Function parameters were stored with the patches (somehing the E-card and the DX7II added); I've built a little controller box for it, where I can switch the portamento on and off, and also control the Breath controller with a knob.

The 16-tone polyphony is just great, and quite unheard off in its time (late 1983). I use the classic DX Electric Piano all the time (with an external chorus), and it's a sure winner each time. MIDI specs are also great, although the biggest complaint in my book is the lack of local off. The 28 kHz DAC may be a bit laughable by todays standards, but I think this is what gives the DX-7 its character; the DX-7II sounds too "clean" and dull to me compared. Everything is easily accessible through the well-layed out buttons.

You can't beat the sound of a DX-7. Most other DX-synths have only 4-operators, but the last 2 are the ones to give the final touches. Browsing through the factory patches, you get surprised every time you try a new patch; some of these sounds are quite realistic! There's one guitar-patch, that's priceless - I haven't heard anything like this on any wavetable-synths ever!

The keyboard has a great response, and the (then new feature of) aftertouch and velocity are very well calibrated IMHO.

One of my favourite patches is just one carrier, with lots of portamento and monophonic mode turned on. This sine-patch is AFAIR unproducable on other non-DX synths, and makes a great honey-dripping background lead.

As long as my RAM cartridges don't go balistic on me, it's dependable like nothing else. I use is extensively on gigs, mostly because the sounds it can make are unreproducable by most others - this is the real McCoy. It's stabel and it's rugged for those rough transports. A bit heavy, though...

I only tried to contact Yamaha's Scandinavian subsidiary trying to get some factory ROMs, but they hadn't any more. I've never dealt with them regarding repairs or parts or such, so I really dunno...

Nothing beats this puke-brown beast. It's heavy like a fridge, but I can spend hours on end going through libraries of patches and/or twiddling my way around the Edit-menu to make my own sounds. This is the cornerstone of my 80s setup, and I don't think I'll ever part with it.

I think $250 was a bit much, but I guess these are prices today; I wouldn't pick one up for anything more than that. I wish I had an E-card, though...

At the moment Im using a mix of factory and downloaded presets. Most of these sound pretty good. Its easy to become dissapointed with the DX especially when listening straight out the headphone socket. Take a line out of the output however and it suddenly seems to come alive. Even the sounds that dont come close to there intended original sound interesting. Editing is easy enough, its just creating sounds from scratch that might cause you problems. Once you've got your head round the 6 operator system and realized that at the most basic level editing can be acheived by changing algorithm or frequency course on any or all of the operators, you have an infinate amount of sound options, some useable, some not.

Polyphony is fine for my needs, after all I only have ten fingers. Effects are only available if you want to create some kind of reverb by shaping the sound envelope to do so. Alternatively, chorus can be programmed by detuning two or more of the six operators. Caution should be used here though, you can program a really thick silky chorus at home and then get to the gig only to find out you've detuned the operators so much that you are out of tune with the rest of the group. I have no expansion on my DX as yet. The midi capabilities are basic, but again, its fine for my needs. I use it to control a Roland JV1080 and I have the patches on the JV numbered according to the buttons on the DX so changing patches is a piece of cake. Also, the mod wheel on the DX provides the best leslie switch/speed control for the JV's hammond sounds. No sequencer but then I use my M1 and a Yamaha MDF2 for that.

To name but a few, the electric piano's, organs, brasses, basses are all useable classics. I must say that I have a preset of a yamaha CP70 electric grand and I cant believe how relistic it sounds. If anybody wants a copy I will gladly zap it over for free.
Velocity and aftertouch are great for the internal sounds but seems to be a little sluggish for anything Im controlling using MIDI.

This think is now 17 years old and still going strong. Need I say more? I do use it at gigs without back up, but I have been considering getting a TX7 or FS1R and replacing the keyboard itself. The keyboard is fine but the overall weight of lugging it around makes it a little less user friendly.

I have dealt with yamaha on a number of occasions and found them to be quite helpful. Ive never had problems getting instruction manuals and ROM cartridges from there spares department.

I would replace it. The model Im using now is my third DX7 and wether I continue to gig it or keep it in the studio, I will always have one. The DX has become a love em' or hate em' type of thing. The newer music fans who like all this retro analogue/digital stuff will probably find it uninspiring but I love it to bits and as a point I have to say, if you are going to go for analogue type sounds, go and try to buy the original gear first, its much more rewarding.

Could be difficult for someone not used to FM.
Some presets are ok.
Manual doesnt help one bit

16 note poly.
no effects
32 internal sounds, 32 more on rom and ram cartridges
touch sensitive, with velocity
no sequencer

Quite simply, this is the best keyboard I have ever used.
Sounds are up to you, you can go anywhere, I have had mine for 11 years and am still discovering new sounds, its like a guitar it, takes on the personallity if the player. I have used analogues, and they just dont interest me, too limited. Realtine control of sounds is possible on the dx7, and always surprises people, you can get some really unique morphs with the wheels. I will take this to the grave with me.

Very reliable

Very helpfull hear in England, (good old Dusty!)

Magical

The DX-7 isn't as hard to use as one would think. It is true that the outcome of your editing occasionally sounds nothing that you had in mind... doesn't really bother me, unexpected noises usually trigger the underlying inspiration.
The layout of parameters is quite simple, no endless menu labyrinths, everything is within one-or-two push-a-buttons... Manual is helpful for those save, sysx,...etc. key combinations, but for editing you should use your own imagination.
One thing I really love is that DX-7 remembers its current state, so, you can turn it off anytime and when switched back on, its like nothing had happened.

The DX-7 is monophonic and monotimbral. 12-bit 28kHz Polyphony is 16 voice. Memory for 32 sounds in RAM, plus optional 32 in ROM (modules). 6-operator FM-synthesis. 6 x amp. env per voice 1 x pitch env per voice 1 x LFO sine,tri,ramp up,down,sq,s/h ...etc.
No samples, No filters, No effects, No sequencer
The keyboard action is unweighted and excellent. Keys are velocity sensitive, and have channel aftertouch. The only "bad" thing I could think of is the minimum velocity, which isn't too low.
The MIDI standard is about as old as the DX-7, still DX-7 has MIDI (in,out,thru). Sounds can be transferred via sysx (millions of patches in Net), modulation and pitch wheel are sent properly. Unfortunately velocity is off-standard, so DX-7 doesn't really shine as a master keyboard. But with rather rare (in Finland that is) expansion/ enhancement cards, forementioned problem is fixed, along with additional memory etc..
Due to algorithm based synthesis and lots of parameters, the sonic variety of this unit is unlimited. (<-- that's the thing...)

First we pretty much forget the preset, usually they have been overwritten several times by now. Sounds are... different, weird, cold, scary, funny, sad, hmm... If all you know about FM-synthesis is your old SB, you have no idea what noises DX-7 brings. I plugged my DX-7 into old Peavey UniverbII, and it showed me places I hadn't been before.
I often mute the clean signal and use only the reverbed sound, and it gives me evolving, haunting sounds. I would say that effects unit is mandatory to unleash the soundscapes. Of course the DX-7 produces great electric pianos and weird basses, and everything in between. With a little imagination, you can assign sound morphing to mod wheel, and it goes beyond filtering.
As history proves DX-7 works for any music type. It is especially great for those cold, metallic voices that aren't too common in all-round synths. Actually, DX-7 is one of the few synths that have their own sound, you can't say that this and that sounds better because this sounds just like DX-7. Due to adjustable velocity sensing per operator, aftertouch, scaling, heap of EGs and other parameters, the expressiveness is outstanding. A player's instrument.

This unit IS rugged... metal chassis, no knobs to fall off, everlasting membrane buttons, and even the keys can handle quite a hammering... Absolutely reliable, not a single problem, ever...

It sure is worth what I paid... If it were stolen I would find another one, or maybe Yamaha Fs1R (though it sounds a little too clean for me). Todays synths rarely inspire the way the DX-7 does. With samplesynths, radical change in sound often takes excessive editing, as with DX-7 a single change alters the voice completely.
The DX-7 is not the only thing you need but whatever music you do, it adds to it.

It is not difficult to use, you select parameters and then enter their values, it gets very tedious though. Some of the factory presets are great but most are nothing special. However you cand find thousands of exellent patches on the internet. The lcd is small and not backlighted and the buttons are the membrane type, but it doesn't bother me.

It has 16 note polyphony,is velocity and after touch sensitive and has exellent keyboard action with a semi-weighted feel. Also there are pitch and modulation wheels, and a 32 patch memory. There are no effects, but none are are really necessary. It stores patches using cartriges. It is, or was possible to get an expension card which gave more memories and better midi implimentation. No sequencer and it is monotimbral. Has midi in out and through, and can use a breath controller. Also you can use the foot pedal to control volume, modulation, sustain and portamento.

The range of sounds it can produce are virtually unlimeted, and it has huge potential. It does exellent pianos and organs very realistic bells and some wierd FX. With carefull programing it even does pretty good analog basses and good strings. It is good for almost any kind of music, especially ambient,and rock. Also it is extremely expressive since for example you can make velocity control the brightness of the sound.

Extremely dependable, built like a tank and is indestructable. Mine is 14 years old and shows no signs of aging.

N/A

I love my DX7, it is a true classic. Exellent sounds a lot of potential and it is very expressive. I would definately buy it over again, maybe for even more then what I paid. I like the sounds and the keyboard, I don't like the interface but it doesn't bother me that much. It woul be more user friendly to have a couple of knobs for the envelope generators and a bigger LCD. Also idealy I would want it to be multitimbral. It helps me make music by allowing me to create new sounds. For the price I paid it is a real bargain, and a must have for everyone.