The keyboards really nice to play, is sensitive (adjustable to 6 oscillators independently of each other) and has aftertouch, assignable to several modulations. The polyphony is 16 voices, or 4 voices with adjustable detune between them, if you want a really thick sound (for those who love Italian Dance ...).
Finally there is a random tune on the keyboard. So it's not just the gypsy violin playing ... gypsy. It can even be fun to change the temperament to play the Baroque more realistic, for example! (This is new compared to the DX7 base)
But the highlight of the DX7 II is that you have two in a DX7! We can superimpose the two patches on each other, or split the keyboard anywhere on this one! As against the polyphony is found halved. It has something for nothing ... but the sound becomes enormous if desired, or super subtle.
South side, the DX7 II is very complete, unlike his elder. Finally we may regret the absence of arpégiator or sequencer, contrary to what is offered on a map Supermax DX7. But there is a map E! Grey Matter for DX 7 II.
Originally, it has 64 memories and 32 performance, you can double RAM with a cartridge. The FD has a floppy drive that can store lots of data, but is not practical Utilia. It is reminiscent of the DOS ...
I give him high marks because, after all, the DX7 II is very complete.
The DX7 is known to be tight enough for neophytes, or simply if there is no user manual. The DX7 II brings to this level a marked improvement thanks to its large backlit display, these pages and navigation simplified. FM synthesis is not what is easiest to address because there are many different parameters to master if you want to get what we want. We can also spend hours, and this is quite exciting. Of course, do not approach the instrument with the prejudices of the classic subtractive synthesis and it really is another world to discover, and it is endless.
The DX7 II is more advisable than its big brother, because it is easier to use, yet comprehensive.
Small problem, however, there are no instructions in French. It can take one of the DX7 to understand the general principle or otherwise, must be proficient in English .. or German.
Finally there are a lot of software that simplifies programming through a computer.
The DX7 is suffering from a ton of prejudice all as wrong as each other (except for the ergonomics ...) No, the DX7 does not know that sounds cold and metallic. No it is not made to reproduce only the sounds of '80s pop (though for those looking for that, it is a must) And anyone who claims to know everything and have toured the DX7 is a true pathological liar or he really had next to it. For it is true, we may well have mixed feelings if the copy on which you fall is programmed with sounds pouet-pouet while sucks, by someone not knowing to use it as it happens sometimes. But this is not definitive, because nothing is fixed on the instrument.
It is simply the most impressive synth I know, the Prophet 5 and Minimoog. It can be powerful or subtle, gently heavy or "pie" (the humor is not forbidden), it can be air or aggressive. With him everything is possible. Rhodes pianos are known, the organ can be skinny like a Farfisa or Hammond as a heavy ... If you dream of the copper of the CS80 unaffordable, no problem on the DX7 also. And above all, he does everything else, because it is terribly expess. You can do everything with, from jazz to black metal (terrible!) Via pop, industry or funk, electro, hip-hop, zouk for lovers ... and contemporary music for the most advanced research. Either way sounds can be so much richer and beautiful than we even need pouurait multi-effects.
The DX-7 II is really a very nice instrument ... very mature and very robust, which I think is for real enthusiasts. Others tap into the endless library that exists for him, but honestly, the best thing to dive into it.
My rating may seem high, but it seems justified.
N / A