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Acbx
Published on 03/10/05 at 17:17
32-voice polyphony is good, except for the effects spciaux trs long, but we rarely needed.
The DX is the champion of CONTRL of expressiveness: sensitivity typing speed, pressure APRS depression of the keys (to apparatre disparatre and a vibrato by force), knobs and the Controller of breath (impressive, but also for the killing blows a snorkel!).
Its rglages of harmonic oscillators are an original gniale, joining Ralite physical acoustics. Good!
UTILIZATION
SIMPE visuliser principle, but difficult to anticipate beginners trs. APRS is being done. The choice of algorithm ncessite also a good Entran, because you have to analyze the srtucturation of his wish to see which should be taken (eg a xylophone is a blade mtalique + noise wooden mallet , so an algorithm two branches!).
The edition of the sounds is easy if you do not want to look too far. By pinailleur against the will of the harmonics to give them hours of research, such as "I have 30 possibilities to spend diffrent fillets flat round threads on my string fretless bass" (yes, yes, I have reached that level of decision-head).
The manual is ridiculous to ridicule. Get a manual indpendant Yamaha, titled "Matrisez your DX", you will directly at suprieur.
SOUNDS
All sounds are possible on a DX-7. When this synth was released it quickly rpandu IDE that could only make sounds mtalliques and cold. But it does not know when to use it. It is possible to make good brass round though nervous, soft fretless bass, and especially it is possible to make layers of violins almost analog, shiny above, velvety and warm down with a symphonic effect trs rich (they can cause incredible chorus LFO indpendants By creating three in each voice).
In addition, the oscillators can be dsynchronisation allow its variant lgrement stamp each button press, which amne ism which no one is capable sampler.
I dtest factory sounds, trs ugly, garish. A RULES: editing. The whole thing is to have patience and s'entraner.
OVERALL OPINION
THE FIRST hours passion for this synth I do not spare. It offers a freedom that only large cratrice analogue research can offer, and this combines with the possible expression trs rich.
It is both a synth and a synth scne of research. But it does not engage that those who are curious, passionate and patient. To those on the DX-7 will prove gnreux and limitless. And it is clear that this synth is not for those who want "all at once."
The DX is the champion of CONTRL of expressiveness: sensitivity typing speed, pressure APRS depression of the keys (to apparatre disparatre and a vibrato by force), knobs and the Controller of breath (impressive, but also for the killing blows a snorkel!).
Its rglages of harmonic oscillators are an original gniale, joining Ralite physical acoustics. Good!
UTILIZATION
SIMPE visuliser principle, but difficult to anticipate beginners trs. APRS is being done. The choice of algorithm ncessite also a good Entran, because you have to analyze the srtucturation of his wish to see which should be taken (eg a xylophone is a blade mtalique + noise wooden mallet , so an algorithm two branches!).
The edition of the sounds is easy if you do not want to look too far. By pinailleur against the will of the harmonics to give them hours of research, such as "I have 30 possibilities to spend diffrent fillets flat round threads on my string fretless bass" (yes, yes, I have reached that level of decision-head).
The manual is ridiculous to ridicule. Get a manual indpendant Yamaha, titled "Matrisez your DX", you will directly at suprieur.
SOUNDS
All sounds are possible on a DX-7. When this synth was released it quickly rpandu IDE that could only make sounds mtalliques and cold. But it does not know when to use it. It is possible to make good brass round though nervous, soft fretless bass, and especially it is possible to make layers of violins almost analog, shiny above, velvety and warm down with a symphonic effect trs rich (they can cause incredible chorus LFO indpendants By creating three in each voice).
In addition, the oscillators can be dsynchronisation allow its variant lgrement stamp each button press, which amne ism which no one is capable sampler.
I dtest factory sounds, trs ugly, garish. A RULES: editing. The whole thing is to have patience and s'entraner.
OVERALL OPINION
THE FIRST hours passion for this synth I do not spare. It offers a freedom that only large cratrice analogue research can offer, and this combines with the possible expression trs rich.
It is both a synth and a synth scne of research. But it does not engage that those who are curious, passionate and patient. To those on the DX-7 will prove gnreux and limitless. And it is clear that this synth is not for those who want "all at once."