What are the different DX7 models and their features?
DX7
The original (also known as Mark I)
Features:
a 6 operator 32 algorithm FM tone generator
a single bank of 32 voices.
61 full sized keys
Drawbacks:
monotimbral, no true splits or layers
monaural (not stereo)
velocity range 0-99, not 0-127
DX7IID
The 'new generation' of DX synthesizers (Mark II). This model has everything the DX7s added plus:
2-channel tone generator, which allows bi-timbral effects including stereo, splits, and layers.
each of the two tone generators can be controlled independently via MIDI on separate channels, making the DX7IID do the work of two DX7s keyboards
larger LCD display and an extra LED voice display for the second channel's voice number
Drawbacks:
only 8 simultaneous notes are available in dual voice mode
Dimensions: 999 x 85.8 x 333.7 mm (39-3/8" x 3-3/8" x 13-1/8")
10.5 kg (23.1 lbs.)
Original List Price: US$2195.00
DX7IIFD
Identical to the DX7IID with the important exception that it has:
a 720K (formatted) 3.5" floppy drive
Dimensions:
999 x 85.8 x 333.7 mm (39-3/8" x 3-3/8" x 13-1/8")
11.2 kg (24.7 lbs.)
Original List Price: US$2495.00
DX7s
A 'cost effective' alternative to the DX7II line of synthesizers.
It uses the same enhanced voices as the DX7II, but is monotimbral and produces monaural sound. It has everything the DX7 has plus:
44.1kHz 16-bit DAC for improved freq. response and dynamic range
2 banks of 32 voices (instead of 1).
32 performance presets.
fractional level scaling (in 3 key groups)
RAM4 cartridge slot
16-key multiple LFO timing
adjustable range on the pitch envelope generator
micro-tuning (each key can be separately tuned)
random pitch to simulate intonation of acoustic instruments
aftertouch-based pitch-bending
16 simultaneous notes with reverse priority
greatly enhanced MIDI implementation
Drawbacks:
monotimbral, no true splits or layers are possible.
monaural
Dimensions:
999 x 85.8 x 333.7 mm (39-3/8" x 3-3/8" x 13-1/8")
10.5 kg (23.1 lbs.)
Original List Price: US$1495.00
TX7
DX7 in a rack
DX1
DX1 was essentially a double DX7 with two complete DX7 instruments packed into single, 73 key, wooden piano keyboard. Display with lots of LEDs to show algorithm and operator settings, and plenty of dedicated buttons provide de luxe interface
DX5
The same internal workings and almost the same interface as the DX1, packed in a lighter (portable) package. 76 plastic keys, but metal case. Pretty exotic (not very many of them around)
DX9
The DX9 is monotimbral, 16 voice polyphonic, and only has 4 operators to play with. The worst thing about the DX9 is that it's not velocity sensitive.
TX816
This is 8 DX7s in a rack
There are also TX216 and TX416 with 2, resp. 4 DX7s in a rack
Separate audio output for each unit
PSU and rack box has MIDI switcher built in. It has MIDI in/out/through on it and you can select which of the 8 modules you wish to receive MIDI from.
TX802
This is a DX7II in a rack with extra features
For example it is 8 part multitimbral with 2 voices each
FB01/TX81Z/DX21/DX100/DX9
4 operators synths, not compatible with DX7 patches
Если интересует более продвинутый синтез, то рекомендую рассмотреть SY77/TG77/SY99:
The Advanced Frequency Modulation (AFM) system is also a major break-through in tone generation technology. The six-operator AFM now has 45 algorithms and each operator can now use any of 16 different waveforms. In addition, each operator provides two user-configurable inputs, which allow modulation by other operators, a noise generator, or AWM2 sampled waveforms. Each algorithm also allows the user to assign up to three feedback loops for precise timbral definition. At the same time, the conventional FM parameters have been enhanced to give significantly improved response and control. A new six-segment design has been employed for the envelope generators, complete with adjustable envelope delays and segment looping.
или FS1R:
Up to eight Operators are configured in an algorithm, and there are 88 algorithms on board (the DX7 offered 32).
An FS1R Operator is more comprehensive than a DX Operator, since the basic sine wave is joined by seven other waveform options -- or 'spectral forms' in FS1R-speak -- including broad- and narrow-band all-harmonics, broad- and narrow-band odd-harmonics, resonant broad- and narrow-band, and formant, for a wider range of potential sounds. But it's at the Operator level that the FS1R reveals its complexity and power, especially in the creation of voice-like timbres. In order to accurately emulate the workings of a human vocal tract, Yamaha have provided two sets of formant Operators, eight 'voiced' and eight 'unvoiced', that work side by side in pairs -- so you could say that the FS1R is actually a 16-Operator synth. The voiced formant Operators, which are basically oscillators, mimic the larynx, producing the basic sounds, or vowels. Speech needs consonants, however, which brings us to the eight unvoiced Operators. Essentially noise generators (which can be used as such when synthesizing percussion or sound effects), the unvoiced Operators allow the FS1R to imitate consonants.
The FS1R manual says convincing speech can be emulated using three to five formants, so there are evidently enough to be going on with in the FS1R! The synth can even be made to talk (or sing), using so-called Formant Sequences -- more on this later.
Each Operator in an algorithm can be modified by a set of synthesis parameters. The exact parameters vary depending on whether you're editing voiced or unvoiced Operators, and on which 'spectral form' is chosen for the voiced Operators. All Operators, whether voiced or unvoiced, have frequency (pitch) parameters, an amplitude envelope generator (with 'hold' parameter for delaying onset of the envelope), frequency EG (which produces a filter EG effect), and various sensitivity parameters that determine how Operator amplitude and formant frequency respond to velocity, amongst other parameters.
All voiced Operators have detuning, key sync and a range of level-scaling parameters. One use for the latter would be to split groups of Operators into virtual 'keygroups' in a Voice, enabling a single algorithm to apparently produce different sounds at different points on the keyboard. Unvoiced Operators are cut back to one level-scaling parameter, which alters their volume response either side of middle C. This is a shame, because there would have been scope for creating percussion sets with up to eight voices had level scaling been as comprehensively implemented as for voiced Operators. Formant Operators are a special case, though they do have access to standard voiced-Operator parameters. It's possible to think of a formant Operator as a mini synth, combining an oscillator and filter in one unit, and its sound is shaped by parameters which include centre frequency, level, bandwidth and the amusing 'skirt'. This last parameter determines the shape of the flare at the bottom of a formant's bell-shaped response curve -- higher values produce a wider skirt!
Unvoiced Operators don't have quite as many parameters as voiced, but they do have the same bandwidth, resonance and 'skirt' parameters, and can even be made to resonate to self-oscillation. During the review, this latter feature was used to provide a couple of excellent sub-oscillators that, whilst almost inaudible when solo'd, added weight and body to the main sound.
