ESC
DX7

DX7

ManufacturerYamaha
FunctionSynthesizer (Digital Programmable Algorithm Synthesizer)
Produced1983-1989
CountryJapan
Form FactorKeyboard
Signal PathDigital Hardware
Dimensions101.5 x 10.2 x 32.9 cm
Weight14.2 kg
Channels16 Voice
Connections
  • Output · 1/4" Phone Jack (6.35mm)
  • Volume Foot Pedal · 1/4" Phone Jack (6.35mm)
  • Modulation Foot Pedal · 1/4" Phone Jack (6.35mm)
  • Sustain Foot Switch · 1/4" Phone Jack (6.35mm)
  • Portamento Foot Switch · 1/4" Phone Jack (6.35mm)
  • MIDI In · DIN
  • MIDI Out · DIN
  • MIDI Thru · DIN
  • Headphones · 1/4" Phone Jack (6.35mm) · Stereo
  • Breath Controller · 3.5mm Miniature Phone Jack (1/8") · Stereo
LinksDX7 Manual at yamaha.co.jp · Owner's Manual at Internet Archive · DX7/DX9 Service Manual at Internet Archive · DX7iid Service Manual · DX7 Circuit Diagrams · DX7 Voice LIbrary at yamaha.co.jp · DX-7 Patch Demo · FM Tone Generators and the Dawn of Home Music Production · The Synthesis of Complex Audio Spectra by Means of Frequency Modulation by John Chowning · DX7 Instructional Video
NotesThe Yamaha DX7 is a phase modulation based digital synthesizer manufactured by the Yamaha Corporation from 1983 to 1989. It was the first commercially successful digital synthesizer Tone generation in the DX7 is based on linear phase modulation synthesis, officially euphemised as frequency modulation (FM), which was developed based upon research by/licensed from John Chowning at Stanford University. This uses multiple sine wave oscillators, which can modulate each other in various configurations offered as 32 "algorithms", thus generating a wide variety of possible harmonic and inharmonic spectra. The DX7 was known for the precision and flexibility of its bright, digital sounds, which could be clearer and less linear than those of the subtractive analog synthesizers that preceded it. The DX7 is well known for its electric piano, bells, and other "struck" and "plucked" sounds which emphasize complex attack transients. Phase modulation as used in this and later synthesisers is capable of generating a wide range of both imitative and purely synthetic sounds. The DX7 is capable of 16-note polyphony. It is monotimbral, but the sound of a single DX7 patch can change either subtly or wildly along the length of the keyboard or when played with different velocities, thus approximating multitimbrality. Three improved models classed as the DX7 II family were released between 1987 and 1989, all of which featured updated internal circuitry and a restyled case. These were, in ascending order of number of features: the DX7s (single), which increased the internal patch memory, considerably improved the implementation of MIDI, and improved output sound fidelity from the mark I's 12-bit floating point DAC + 2 bits of analogue companding (equivalent to 14 bits of dynamic range but not signal-to-noise ratio) to a full linear 15 bits (a 16-bit DAC with the least significant bit tied off, nonfunctional) the DX7 II D (Dual timbres/outputs), which was equivalent to a DX7s + stereo outputs, bi-timbrality, and a larger screen, and the DX7 II FD (Floppy Drive), which was identical to the DX7 II D except that it also added a floppy disk drive.