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Òåìà: YAMAHA DX7 èëè DX11
Âðåìÿ: 24.09.2012 21:37 |
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Òàìàëà,Ïåíçåíñêàÿ îáëàñòü KORG M3-61,YAMAHA MOX6, ROLAND JUNO G.  
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Åñòü âîçìîæíîñòü çàèìåòü ðàðèòåòíûé DX11,íî ÿ íå çíàþ åãî.Ãîâîðÿò îí ëó÷øå DX7. ×åì? È,åñëè ëó÷øå,òî ïî÷åìó âñå ðàíüøå èãðàëè íà DX7,à DX11 ÿ ïî÷òè íå âèäåë. Îáúÿñíèòå ïîæàéëóñòà ñòàðèêó. | |
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Àñòàôüåâ Àëåêñàíäð
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 24.09.2012 22:43 |
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Moskau Yamaha Dx7S
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À Âû ïîñëóøàéòå íà Þòóáå è òîò è äðóãîé è ðåøèòå. À âïðî÷åì îíè ïî÷òè îäèíàêîâûå. | |
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 24.09.2012 23:15 |
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Ìîñêâà keyboards, piano, ProTools 
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Íå ëó÷øå. DX-7 - 6-îïåðàòîðíàÿ, DX-11 òîëüêî 4 îïåðàòîðà. Äèíàìèêà êëàâû ïîìîéìó íåâíÿòíàÿ â 11-é, íàñêîëüêî ìíå ïîìíèòñÿ è êîíñòðóêöèÿ êëàâû êàæåòñÿ òàêàÿ æå, êàê è ó DX-21, ñ îäíîé ñïëîøíîé ðåçèíêîé íà âñþ äëèíó êëàâû, ïðè ïðîáîå êîòîðîé (íåðåäêèå ñëó÷àè) íóæíî ìåíÿòü âñþ ðåçèíêó (â 94-ì ãîäó ðåçèíêà ñòîèëà 30$, ïðàâäà äîëëàð òîãäà èìåë êóäà áîëåå âûñîêóþ öåííîñòü). | |
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ÇÐ ñòóäèè Â. Îñèíñêîãî
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 25.09.2012 00:44 |
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Ìîñêâà Roland XP-80, Main Stage, Logic Pro 
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>Äèíàìèêà êëàâû ïîìîéìó íåâíÿòíàÿ â 11-é, íàñêîëüêî ìíå ïîìíèòñÿ è êîíñòðóêöèÿ êëàâû êàæåòñÿ òàêàÿ æå, êàê è ó DX-21, ñ îäíîé ñïëîøíîé ðåçèíêîé íà âñþ äëèíó êëàâû, ïðè ïðîáîå êîòîðîé (íåðåäêèå ñëó÷àè) íóæíî ìåíÿòü âñþ ðåçèíêó (â 94-ì ãîäó ðåçèíêà ñòîèëà 30$, ïðàâäà äîëëàð òîãäà èìåë êóäà áîëåå âûñîêóþ öåííîñòü).  DX-11 äèíàìèêà ñ ïîñëåêàñàíèåì, à íà 21-é íèêàêîé äèíàìèêè. Ñîâåðøåííî ðàçíûå êëàâèàòóðû. >Åñòü âîçìîæíîñòü çàèìåòü ðàðèòåòíûé DX11,íî ÿ íå çíàþ åãî.Ãîâîðÿò îí ëó÷øå DX7. ×åì? Åñëè ñðàâíèâàòü 7-é ïåðâûõ âûïóñêîâ, òî ó 11-ãî åñòü âîçìîæíîñòü ðàçäåëåíèÿ êëàâèàòóðû è ìóëüòèòåìáðàëüíîñòü. Ïî ñóòè ýòî óðåçàííàÿ âåðñèÿ DX-7S èëè DX-7D, DX-7 2FD |
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 25.09.2012 01:35 |
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Ìîñêâà keyboards, piano, ProTools
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> DX-11 äèíàìèêà ñ ïîñëåêàñàíèåì, à íà 21-é íèêàêîé äèíàìèêè. Ñîâåðøåííî ðàçíûå êëàâèàòóðû. ß ãîâîðþ î êîíñòðóêöèè. Äëÿ òîãî, ÷òîáû íå áûëà çàäåéñòâîâàíà äèíàìèêà, âïîëíå äîñòàòî÷íî áûëî íå èñïîëüçîâàòü ãðóïïó êîíòàêòîâ. Òàêèå êëàâèàòóðû âñòðå÷àëèñü è â äðóãèõ ÿìàõîâñêèõ ìîäåëÿõ ñ äèíàìèêîé, íå òàêèõ ïîïóëÿðíûõ êàê DX. Îäíó èç íèõ ñàì êîãäà-òî ïîïûòàëñÿ îòðåìîíòèðîâàòü ñïîñîáîì, êîòîðûé ñðàáàòûâàë â ñëó÷àå ñ 21-é, íî ñ äèíàìèêîé íå ïðîêàòèë - â ðåçèíêå â ôîðìå äâóòàâðà íà âñþ äëèíó ïðîõîäèëè 2 "òðóáî÷êè", â íèõ çàãîíÿëñÿ øíóðîê. À âîò ìîäåëü ýòîé éîìàõè íå ìîãó âñïîìíèòü - îíà ìíå áîëüøå íèãäå íå âñòðå÷àëàñü, òîâàðèù ó êîãî-òî èç-çà áóãðà ñ ðóê êóïèë. ×òî-òî òèïà DS-55, 4-õ-îïåðàòîðíàÿ FM, ñ ðàçäåëåíèåì êëàâèàòóðû è ïðàêòè÷åñêè îáðåçàííîé ðóë¸æêîé çâóêîâ. Âîçðàñòîì íàâåðíîå ÷óòü ìëàäøå, ÷åì YS-200, äîâîëüíî óçêàÿ â ãëóáèíó. |
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ÇÐ ñòóäèè Â. Îñèíñêîãî
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 25.09.2012 09:52 |
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Òàìàëà,Ïåíçåíñêàÿ îáëàñòü KORG M3-61,YAMAHA MOX6, ROLAND JUNO G.
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Ñïàñèáî âñåì | |
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Àñòàôüåâ Àëåêñàíäð
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 25.09.2012 13:35 |
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DX7 - 6 îïåðàòîðîâ, íî òîëüêî ñèíóñîèäû, DX11 - 4 îïåðàòîðà, çàòî 8 ôîðì âîëíû. Ïî êëàâèàòóðå îäíîçíà÷íî ëó÷øå DX7... |
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 25.09.2012 14:04 |
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«Think Different»
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DX11 äåòñêàÿ áðÿêàëêà. Íå àêòèâíàÿ êëàâà. Ðÿäîì íå ñòîèò ñ ñåäüìîé ÿìàøêîé,æèâîé ïî ñåé äåíü ýë.ïèàíî êëàññèêîé. Electro-Harmonix Deluxe MEMORY MAN + Yamaha DX7 = ÖÈÌÓÑ! |
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Ïðè ìíîãîêðàòíîì òåñòå àíàëîã vs öèôða îêàçàëîñü,
÷òî êà÷åñòâåííûé öèôðîâîé çâóê îò êà÷åñòâåííîãî àíàëîãîâî îòëè÷èòü ñìîãëè íå ñïåöèàëèñòû, à òîëüêî îñöèëëîãðàô..) |
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 25.09.2012 14:21 |
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Ìîñêâà keyboards, piano, ProTools
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>DX7 - 6 îïåðàòîðîâ, íî òîëüêî ñèíóñîèäû À êàê äåëà îáñòîÿëè â ìîäèôèêàöèÿõ S, II è II FD? |
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ÇÐ ñòóäèè Â. Îñèíñêîãî
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 25.09.2012 14:22 |
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Ìîñêâà keyboards, piano, ProTools
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ÇÛ: Ñ âîëíîâûìè ôîðìàìè èìåëîñü ââèäó | |
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ÇÐ ñòóäèè Â. Îñèíñêîãî
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 25.09.2012 14:28 |
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>>DX11 äåòñêàÿ áðÿêàëêà. Äà ïîíÿòíî, ÷òî íå iPad3... >>Íå àêòèâíàÿ êëàâà. Íåàêòèâíàÿ - DX21/27/100. |
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 25.09.2012 14:32 |
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«Think Different»
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>>>Íå àêòèâíàÿ êëàâà. >Íåàêòèâíàÿ - DX21/27/100. Êîãäà-íèáóäü äàâèë? Òàì èìèòàöèÿ àêòèâíîñòè...÷î òî ãäå-òî ÷óòü ÷óòü... Äåðüìî ýòî,ðåáÿòÛ. ..ñòàðü¸...:) |
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Ïðè ìíîãîêðàòíîì òåñòå àíàëîã vs öèôða îêàçàëîñü,
÷òî êà÷åñòâåííûé öèôðîâîé çâóê îò êà÷åñòâåííîãî àíàëîãîâî îòëè÷èòü ñìîãëè íå ñïåöèàëèñòû, à òîëüêî îñöèëëîãðàô..) |
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 25.09.2012 14:37 |
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Êîíå÷íî, äàâèë. DX7/DX11/DX21/DX100. Ëè÷íî. Î÷åíü ìíîãî äíåé.È óæå îá ýòîì ïèñàë â ïîäîáíîì ñïîðå... À "äåðüìîâàÿ èìèòàöèÿ àêòèâíîñòè" - ðåçèíêè ñåé÷àñ ñòàëà ïðàêòè÷åñêè ñòàíäàðòîì äëÿ ïÿòèîêòàâíûõ èíñòðóìåíòîâ. Õîðîø ñíîáèòü... |
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 25.09.2012 14:50 |
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«Think Different»
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>Õîðîø ñíîáèòü... Çàáàðàë êåòðîíàìè è ïðî÷èì ñòàðü¸ì... 
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Ïðè ìíîãîêðàòíîì òåñòå àíàëîã vs öèôða îêàçàëîñü,
÷òî êà÷åñòâåííûé öèôðîâîé çâóê îò êà÷åñòâåííîãî àíàëîãîâî îòëè÷èòü ñìîãëè íå ñïåöèàëèñòû, à òîëüêî îñöèëëîãðàô..) |
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 25.09.2012 14:55 |
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>>Çàáàðàë êåòðîíàìè è ïðî÷èì ñòàðü¸ì... Ïèòåðñêàÿ êëàññèêà Î Êåòðîíàõ ðå÷ü ñîâñåì íå øëà äà è âñïîìèíàëèñü îíè ìíîé äîâîëüíî äàâíî 
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 25.09.2012 15:34 |
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Èðêóòñê Hammond B3 
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÷¸ íà êåòðîíû ïð¸òå???..........êåòðîíû - ýòà ÂÅÙÙÙÙÙÜÜÜ!!!!!
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È ÷òî ýòî òàêîå "èìïðîâèçàöèÿ"? È êòî åå ïðèäóìàë? Íåìöû íàâåðíîå! Âå÷íî îíè ÷òî-íèáóäü ïðèäóìàþò, à íàì, ðóññêèì, ïîòîì îòäóâàéñÿ.
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 25.09.2012 19:51 |
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))) Êëàññ!) Âîò ñïîð íè î ÷¸ì! Óâåðåí,÷òî ïî÷òè âñå ñåé÷àñ ïîëüçóþòñÿ ñâÿçêîé æåëåçî+ñîôò! ß äîïóñòèì áåç æåëåçÿê íå ìîãó - îíè ìÿñî äàþò,à âñ¸ îñòàëüíîå - âñòè-íà! Ðåáÿòà,äàâàéòå æèòü äðóæíî!) |
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 25.09.2012 19:57 |
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Zeya. Kurzweil 
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>Óâåðåí,÷òî ïî÷òè âñå ñåé÷àñ ïîëüçóþòñÿ ñâÿçêîé æåëåçî+ñîôò! >ß äîïóñòèì áåç æåëåçÿê íå ìîãó - îíè ìÿñî äàþò,à âñ¸ îñòàëüíîå - âñòè-íà! >Ðåáÿòà,äàâàéòå æèòü äðóæíî!)  Ìîëîäåö,óâàæóõà! |
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Âñÿêèé õóäîæíèê áûë ïîíà÷àëó ëþáèòåëåì.
Ðàëüô Óîëäî Ýìåðñîí. |
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 25.09.2012 21:28 |
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Òàìàëà,Ïåíçåíñêàÿ îáëàñòü KORG M3-61,YAMAHA MOX6, ROLAND JUNO G.
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Âîò çàäàë ÿ òåìó!Ñïàñèáî ðåáÿòà. | |
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Àñòàôüåâ Àëåêñàíäð
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 27.09.2012 01:18 |
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>> >DX7 - 6 îïåðàòîðîâ, íî òîëüêî ñèíóñîèäû >>À êàê äåëà îáñòîÿëè â ìîäèôèêàöèÿõ S, II è II FD? Àíàëîãè÷íî. Âîò èíôà ïî ðàçëè÷èÿì: 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 Åñëè èíòåðåñóåò áîëåå ïðîäâèíóòûé ñèíòåç, òî ðåêîìåíäóþ ðàññìîòðåòü 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. èëè 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. |
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 27.09.2012 02:09 |
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Ìîñêâà keyboards, piano, ProTools
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Âîò ýòî ÿ ïîíèìàþ èíôîðìàöèÿ! Ñïàñèáî! Õîòÿ DX-àìè â íàñòîÿùåå âðåìÿ è íå èíòåðåñóþñü, íî ïàìÿòü îáíîâèòü íå ïîìåøàëî.
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ÇÐ ñòóäèè Â. Îñèíñêîãî
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Òåìà: Re: YAMAHA DX7 èëè DX11
Âðåìÿ: 27.09.2012 08:50 |
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Òàìàëà,Ïåíçåíñêàÿ îáëàñòü KORG M3-61,YAMAHA MOX6, ROLAND JUNO G.
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Îãðîìíîå ñïàñèáî Rostyk, èíôîðìàöèÿ áîëåå ÷åì èñ÷åðïûâàþùàÿ. | |
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Àñòàôüåâ Àëåêñàíäð
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