I don't really care for the DX7 OG patches or the machine itself to be honest. 80's pop flogged it dead for me... However, what Korg has done for FM has been truly innovative and astounding. What we need to focus on is what Opsix does for FM synthesis, not what Opsix can do as a DX7.
So true. When the Opsix came out, my first thought was: WTF? Why KORG, why not Yamaha? They missed a huge opportunity, as if they forgot the synthesis they made so popular more than 40 years ago. Anyway, now I own an Opsix and I'm super happy with it! FM has never been so "hands on".
As someone who owned a DX7 and really learnt how to program it. I am impressed with what Korg have achieved here in a compact unit. Those 12 bit converters are hard to emulate.
Yeah, so U might agree that Korg just took the DEXED approach to make everything digital, like the original DX7 was actually a digital synth? Well, yes, the DX5 I have, has other DAC's than my PC or OPSIX. It is very obvious, when trying to get the same sounds into either with only a couple of sounds, which are the very long developing sounds such as at 8-7 and 8-8 the Explosion and Bomb drops. But is that an issue of DAC, or rather a programming insufficiency?
I can actually get my opsix to sound identical to the DX7 on all of the classic patches ... but because of the envelope difference you just have to mess with it a bit. but you can def get them identical. So its kind of a no brainer. The opsix can do everything the Dx7 can do... plus a ton more .
Thing is, if you really want the original sound, you will have to spend the additional time of tweaking the OPSIX. And if you don't have a real DX7 in the first place to compare to, then it isn't possible anyway...
@@GeorgeLocke the UDO super 6 has an HADSR envelope and it's pretty useful for delaying the attack of one envelope while the attack of the other (which is just an ADSR envelope) is doing its thing.
@@kaitlyn__L fair. AHDSR envelopes aren't that uncommon either. IDK if you've ever tried editing dexed or anything with "proper" DX7 envelopes, but they are really not intuitive, and having 5x2 envelope parameters per operator really makes editing that much harder.
As an owner of a couple differnet FM synths, Plogue's OPS7 is fantastic and should be on anyone's radar. It's like having the sound engine of a DX1 bc of the dual DX7 layers, too!
The OpSix hardware appeals to me even though the vst is now available for far less. It’s all about the experience, and getting hands on with the hardware is the way to go.
I'm definitely struggling with this decision, especially since the release of the SE. If Korg introduces an iOS version (of Opsix, Modwave, AND the Wavestate) it's a no brainier. The wavestation & M1 apps are phenomenal.
Really good video, thank you for this. I have an Opsix and a DX7S. I love both, but I have to say the DX7 with some decent effects is a wondrous thing. It sounds amazing.
No kidding. A classic Yamaha 6 OP like the DX7 or TX802 though a quality reverb like the Ventris or Specular Tempus is like hearing the voice of God! It's amazing how those FM sounds come alive with a quality delay and / or reverb.
This was great. Really cool how different they sound. I wasn't expecting the difference to be so vast. I respect Korg's design team for making such an innovative take on FM. I wish they had made a 61 key version with aftertouch.
Great comparison and I thank you for this video! I have both the opsix and a Mk1 DX7, and for me, not being a pianist but more of a programmer and a composer, the opsix's added sound possibilities make it far much more used than the DX7. But the DX7 has this intangible *oomph* and straightforwardness. Also I still end up being a bit starstruck with it, so I cannot make myself get rid of it.
The vintage weight (physical not audio) does have its charm… and of course IT A DX7!! Oh how I lusted after one back in the day. not such a big deal now, but fun to have one at least for a bit.
Love the video man. I think I am buying a Opsix 61 key tomorrow, but i did consider buying an old DX7! Might end up with both, but cant wait to get into the Opsix and compose with it.
It’s good you mentioned the differences in dynamics. Different key beds will always respond a bit different, specially with FM that is very dynamical, the original DX7 had a strange velocity curve. I had an Anatek pocket curve to connect it to midi gear to get a decent feeling touch. I also would imagine from seeing this video that the Korg could sound identical if you tweak long enough. But it probably would make more sense to try to make it sound better. The DX7 without anything sounded good at the time, but it also lacked a lot of futures that now any synth can do. Try to make 2 saw waves in a patch, for example. No effects. I guess most of the younger DX7 fans have not brought it to the gig and tried to edit the thing yet before posting it on Reverb again. Anyway, good video, keep it up!
Just made the decision to dip my toes back into synthesis. I always used and programmed a DX7II, and I've just got a Korg Volca FM 2 on its way to me for starters. That Opsix looks like a decent option for the future.
This comparison needed to be done. good job. re DX7 keybed: DX7 has aftertouch and various scaling. the DX7 keybed quality is far superior to those crap korg keybeds. (i have a DX7 and a wavestate and 2 other korgs) the op6 sounds rougher like a VST vs the DX7, but IMO, close enough to use as a module with a better keyboard controller (like the DX7 haha) for example, put DX7 on the solo synth patch and use the aftertouch to add square wave LFO modulation. With a better controller, these days, I would seriously consider the OP6 as a performance synth over the DX7. The DX7 is really heavy, almost dangerously heavy. Also, 40 year old vintage stuff is not super-trustworthy. mine needs work and also a battery.
I used a DX7 as a MIDI controller for a while, and used MIDI processor software to scale the velocity range to 127. Worked fabulously. The loss of resolution was not noticeable in practice. I generally use a KK S61 MK2 now, but still prefer the DX7 bed.
@@lundsweden and what exactly does that have to do with my situation? that's like me saying i cant play piano for a week with a sprained wrist and you tell me "that's nothing, this other guy has a sprained wrist with stage 4 cancer" = silly girl logic.
@Countach Control The DX7 can actually reach higher than 100 if you really slam it! I did so just to check it out. You can never do it during normal playing though so you have to scale (expand) the velocity up to 127. In addition to that, the velocity sensitivity resolution is extremely low with very few different actual values bein registered when you play even though the keybed in itself feels really good. Later YAmaha and KOrg Synths were much better in that regard!
There was a guy on YT called madFame. He did some amazing patches on his DX7 with tutorials on how to really use a DX7. Learned a lot about FM from him. Sadly he no longer updates his channel. Still worth checking out to see if the patches can be recreated on OP6. #madfame
Nothing comes close to the gritty warm DAC in the DX7 mk1. Dexed is good but doesn't have the same character. It's more than just a nostalgia thing when you play a DX7 MK1. It is so well made with a great keybed too.
@@Leviathan-mj8gi I get a nice fried crispy sound when I overcook stuff in my Ninja Air Fryer. Maybe I should sample it. 😂 You are entitled to your opinions as am I. I have a nice room with a few synths each with a unique sonic character that I have built up over the years as they appeal to me and my musical direction. Horses for courses. I'm sure my DX7 will be going for another 30 years after a few battery and capacitor changes and will certainly hold its value and vintage status.
@@Leviathan-mj8gi to be fair, my dx7 sounds different to what comes out of dexed. I think I know what he means, probably more so because we have to output it into an interface or something which might have its own character. There is a charm about the real thing. It’s also the way it plays and responds to the keybed, it’s a nice experience
If you could have teleported the Korg back to the early 80s I bet nearly all recording artists of the day would have immediately dumped their DX7 for an OPSix and would have made just as good if not even better music. I doubt any of them would have been concerned about the DAC and would have been staggered at the low price and tech under the hood.
just no dude.lol dont pull the .. " older is soooo much warmer duuuude". thing in a discussion about digital synths . " no the dx7 isnt any warmer you just have to mess with the envelopes and velocity and the patches end up sounding identical .
You can just flash a Volca FM with an unofficial firmware and make it compatible with DEXED and load all DX7 sounds into the Volca FM. And that thing is just 150 bucks. Coz the OpSix not that great compared to the DX7 anyway. Just makes you appreciate the OG even more, such a great device even now. Loved the comparison! Well done like always
The interface on the OPSix looks great though. The original can't compete there. Also, these differences could be math artifacts anyway. Fixed point vs floating point. Lexicon engineers talk at length about the difficulty of emulating fixed point Lexicon chips from the golden days of Lexicon in floating point present day and how much this impacts the sound. Maybe in the examples here you could probably overcome some of these differences with programming. Or maybe not I don't know. The OPSix sounds pretty nice doing its own thing so this may or may not matter. I have a TX7 which I love but I don't know, lately I've been coveting the OPSix. Looks like a really nice way to present FM. That's if I can ever turn my attention away from subtractive analogues which are, well just easier to live with than FM I guess.
@@Screaming-Trees The OPSix is very flexible, subtractive synthesis is a possibility. I just watched this video and it was very interesting: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-rUa_qK-XPJ4.html
I think that the keytracking settings are different between them somehow. Maybe Opsix has a slightly different keytracking range than DX7, which is why the same patch sounds different.
I have the OpSix. It is quite lovely to use. Great onboard effects. Great UI. I think the DX7 might have a warming low end, but I don’t like to fuss with vintage gear.
Thanks for taking the time to make this side by side comparison. I know I'm late here but this comparison is still as relevant today as the day you made this. You answered my dilemma ... do I spend £450 to £500 on a second hand DX7 or get an ex-demo Korg Opsix for £480? I went with the ex demo Opsix. Your DX7 sounds slightly brighter out of the box, but then the Opsix has simpler envelopes, a greater granularity on the controls and a different keybed, all of which will influence the overall tone. The Opsix looks a breeze to edit by comparison with the DX7. Less menu diving. More knob turning for us analogue devotees.
I don’t think it’s always warmer on some tones it’s definitely lighter. I think it’s probably just in some the levels of the ops are different - sometimes sounding a bit fuller sometimes a bit thinner.
great, I own both too. Opsix is far more flexible, but, DX7 sounds richer, great sound, and some patches when applied to Opsix sounds weaker... but Opsix is clearly practical. Also I compared DX with my SY77 using same critera, and sounds different too... amount of modulation maybe, also D/A converter...
If you get an opsix expecting a 'newer dx7', you'll be very disappointed. If you're a sound designer in general though, you should be very very happy. DX7 is nice run thru external fx but the opsix doesn't even need to be used with FM at all. You can go pure subtractive if you feel like it, and each operator can be its own oscillator waveform. 6osc anyone?
@@zoned7609 It is like a new DX7 because it has intuitive FM synthesis that doesn’t need much improvement, but this time it created usable sounds for modern music because it combines subtractive synthesis giving us all the benefits without any of the negatives. What more would you want out of a new DX7?
Good job on your usual thorough overview. We wouldn't still be talking about FM today if it didn't sound nice, I guess. It's nice you can load the DX7 patches and get something close, but really that's just a bonus and not really going to challenge Dexed. For me the Opsix is all about the edit and getting to places you wouldn't have the patience with FM before. I've got one in the box waiting to be opened right now, and I probably won't even bother to check out the DX7 sounds I'm so familiar with.
Not sure if someone already mentioned but the DX7 velocity only goes up to 100 so all you would need to do on the Opsix would be to bring the velocity max from 127 down to 100 to get the same sound
Just watched a video about the dx1 and I started to think that you could do the dx1 thing with two opsix's, a keyboard controller and some creative midi-ing!
I really enjoy Mr. Carr's videos, and his non biased approach. Having said that, comparing the OPSIX to the original DX7 is just, well, wrong. Sure, the DNA may be there, but they are ENTIRELY different instruments. If you want DX7 emulation, get Dexed and a mouse. Comparing the OPSIX to a DX7 is like comparing a 2023 Porsche GT3 to it's 50's Sportster ancestor. Both great, but so different.
@@StarskyCarr AFAIK, the original DX7 works only with velocity from 0 to 100, not from 0 to 127. That may explain the different feeling when playing the same or very similar patches on the original keyboards and every other one.
The only 2 things that have bothered me about the opsix is the data/parameter knobs and how it interacts with the sections. So many times I have accidentally twisted the wrong knob that either changed the fx type and reset my settings or the main data knob and switched the preset, having to click no. I really wish they would have done the envelopes the same rather than going with standard adsr too. Pretty easy to tweak though.
I own a DX7 mk1 and had an Opsix and returned it. Sound design definitely is much easier on the Korg, but to me it always sounded like a really good vst. Often even anemic sounding. My DX7 is much more organic sounding, richer, and has grit. I love it.
I totally agree. The DX7 has a different architecture and this is what gives it it's character. When you put the DX7 through a good stereo FX unit it really does shine. The opsix sounds too sterile to me and does not have the mellow, creamy, gritty and breathy quality of the DX7 and it's all about the sound and connecting with the synth at the end of the day. Great keybed too. You can buy a HCard for the DX7 and store thousands of patches. I also think Dexed is a great software alternative.
Yeah, I can't help but feel that if the designers at Korg had spent a bit of time doing the comparisons that Starsky has done here, that maybe they would have gone back to the drawing board a bit. These days though it may be addressable via a firmware update. There is also the possibility that Korg weren't going for a direct copy or emulation. I must admit that I do find it a tough sell though, when a piece of new synth hardware sounds no better or worse than a plugin. There has to be some justification for it. That's why I can't really stomach the new Roland 'Softsynths In a Box' approach, and why I love what Behringer are doing for the same sort of money. Okay we can argue that the Behringer clones aren't as good as the originals, but they sound great, are reasonably priced and require far less maintenance than the units they clone.
@@Toymortal I've recently bought a Deepmind 12 and although it doesn't quite sound like a Juno (which it is based on) it is certainly very musical and sounds better than a VST (harmonically richer) and even surpasses the Roland in the FX and Modulation department. The DX7 and Deepmind sit so well together in a mix too.
@@davidlloyd9598 Yeah? Sounds good! I must admit that I'm a massive fan of the Behringer synths and also how they are sort of democratising analogue synths. I think it's a tough task to faithfully reproduce the vintage synths, for a whole host of reasons. But the Behringer synths all sound good, are fun to play, well priced and better than plugins. Unless I could afford not only to purchase a vintage synth but to also to have it properly serviced by a knowledgeable synth tech - I'd rather buy new.
Yamaha Montage and MOD-X should be able to do all the DX7 things, though, right? There are quite a few DX presets in them, and the engine is pretty robust with 8 operators on the Montage and all those algorithms. I haven't seen anybody compare them side-by-side.
MODX owner here. Its FM engine alone (let alone the huge variety of additonal filters and FX) out-performs both DX7 and OP6 by far. No reason for me to want either of those.
The last thing I'd want to play on the Opsix is the original pluck bass and bell piano sounds, they were dreadful! More excited to see how far FM has come with new technology and what we can do with it.
From what I read and checked in Opsix Native perfect emulation DX7 was not priority for Korg with Opsix and they wrote their own FM synth engine... which software-wise makes tons more sense, doing using proper floating point match rater than emulating old Yamaha chips with their lockup tables which was workaround to fit FM synthesis in to a chip and wouldn't even run as fast as modern engine. Korg could put more effort in tuning/adjusting parameters to get closer match when importing sysex patches as this aspect is apparently not quite where it should be for perfect 1:1 mapping (excluding differences in precission of FM engine of course) but it isn't an issue because even if someone imports patches they will probably modify them to squeeze more out of them anyways.
1st challenge: Make the OpSixsounds like the DX7. 2nd challenge: Make the DX7 sounds like the Opsix. Rules: You'll have to deal with the GUI of each synth, no cheat with sysex transfer. 😉 (I love DXs but well, I think the 1st challenge is easier! ) Bonus: I like the Opsix plugin but, even if I know it's outdated, why Korg doesn't release an "Opsix M" in a rack module? Rack format is space saving and convenient (OK OK, I'm old, I know that, but what's better than a huge cabinet full of synth rack modules?!)
I have multiple FM synths. I now have the opsix too. Why an opsix and a korg volcaFM? Well the vintage Yamaha FM synths I have have had multiple issues ranging from bad push buttons to dead memory battery to physical mishandling damage but the Opsix and volca have modern tech that is flash based, and the buttons all work(for now) and so on. Really and truly it is about the sound and playability(your music and inspiration)versus the hardware failures that can kill your creativity and inspiration. Frankly I love to collect keyboards and synths. But yes, I rather be able to collect and replace the vintage failure prone originals with more powerful more reliable(FOR NOW)modern counterparts. Opsix/volcaFM fulfill that need.
Opsix can do evolving sounds all right. Envelopes on each operator go up to 90 seconds per stage, LFO rates go as low as 0.01 Hz. You can do things like modulate one LFO’s rate with an EG or with another LFO with random sample & hold wave types. I loaded up a couple of Brian Eno’s DX7 patches on the opsix, and they sound pretty good. Then I could add some effects - as Eno would do with studio outboard gear - and they take on a life of their own.
Would be something really AMAZING (and an incredible HUGE Christmas gift to all the OPSIX users) if you show us the procedure to get a really IDENTICAL EL.PIANO SOUND!! ;-) Cause we do not have a DX7 to compare, but i know the REAL EL.PIANO is more brilliant! Step by step... (pleaseeeeeee) 😁
I have a DX100, four TX81Z'S, three volca fm's and two Opsix's.. I was told by someone who owns a TX816, TX802, two TX81Z’s, DX7 and an Opsix.. he says that because the first gen DX7 uses a 12 bit (IIRC) converter with an addition three bits on a resistor ladder.. but the distortion and artifacts from the lesser quality conversion give the original DX7 an audible “bite” and “grit” in the upper midrange that really cuts through and has a presence that’s hard to reproduce with the OpSix or any plugin. Even adding a bit reducer/sample rate reducer to the modern stuff only gets so far in cloning that sound exactly..
This is really why I demo’d them. Does the 12 bit converter really make a noticeable difference? Everyone says it does - and with a digital synth the differences in sound creation should be minimal - so here we’re really listening to the differences in the output tech.
i really notice that the Opsix has more low-end then the DX7 ..my guess to compensate that nowadays people don't want to put up with the too-tinny-sound of FM :P
The similarities between the Opsix and the DX7 is the least interesting thing about the Opsix. DX7 is all whitney houston and take my breath away Wednesday afternoon dullness where as the Opsix is an versatile creative tool with layers and layers of sonic possibilities.
I have the old korg DS-8 and the Korg 707, they Sound exactly like a Tx81z or Fb01, and sooooo gritty. The New Synthesizers like OP 6 or Arturias FM can not be compated, they are only Software and NO FM Chips used... . I❤these old machines and their Sounds are incredible. I am a pure preset player since 1983, so I hate doing only Sound design is like wasteing time for me. I just influence sounds a little bit or I like layering sounds very much. But at the end of the day the arrangement determits the sound.
i think the opsix is the modern answere to FM and particually the "access" in terms of "easy controll" you want nowadays - and FM synthesis isnt so easy like normal subtractive synthesis
How does the Opsix plugin compare to the Opsix synth? It's supposed to be exactly the same. No reason why it shouldn't be I suppose but it surprising how FM synths can't always reproduce the same sounds exactly.
Thank you for this! I’ve owned a DX7 since 1983. It’s built like a tank… I think it still sounds better. Don’t see a need to get an OPSIX since I also get nice FM sounds that are unique and different from the DX on my Roland System-8, and I only like FM sounds for very specific parts.
If you're comparing Dexed to a DX7, then yeah, Dexed-plus-a-midi-controller is a far more practical choice. If you're comparing Dexed to an Opsix though, they're very different. Opsix isn't a DX7 emulator... it's a full-featured modern FM synth which just happens to have a DX7 emulator included as one of its features. It also includes basically an entire analog subtractive engine, and the FM and subtractive parts can be mixed and matched. Plus a whole suite of effects... and a reasonably simple interface for editing everything. It's capable of a much wider variety of sounds, much more rich and realistic. For an example, take a look at "Korg Opsix - The Movie" by Red Means Recording. I especially like the sections starting about 12min and 14min into the video.
I'm not sure the 12-bit sin waves are the most accurate. I think if you went through the operators & changed them to the higher fidelity default sin, and then under the misc shift function, enabled the lo-fi option, or alternatively using the effect "decimator" & carefully dial it in subtly to emulate the original DAC of the DX7, it might be closer sounding. I do however, wonder about the envelopes... it almost sounds like the dx7 introduces a subtle reverb, or has different chorus settings? the release sounds different imo.
You described DeXed as free controller software for the DX7. It does do that, but that strongly undersells it. It is a completely free VST replacement for the DX7, that loads all of its Sysex files and replicates all of its sounds and capabilities almost perfectly. Considering the price (of nothing), you'd be crazy not to give it a try before getting any other FM synth. Incidentally, it's available on multi platforms including PC, Mac and iPad. There are other VST alternatives as well, notably the Arturia DX-V, which adds some additional capabilities and is easier to tweak and program than the original, but retains most of the look, feel and sound. Korg has also just introduced an OpSix VST, which mostly eliminates the need to buy the actual hardware. This basically replicates the Opsix controller software, but also adds in the actual FM engine as well. There are many other hardware and software options. Especially notable is the Yamaha MODX (or Montage) which has 8 operators instead of 6 and adds some other neat new capabilities, along with the other great Montage AWS sounds. I have a ModWave (which I really like) and a WaveState (which is a bit disappointing), but I never really considered the OpSix, as it seems to mostly tread old ground and doesn't do much than the VSTs and hardware that I already have. Yes, it's unusually easy to program, and does a few things that a DX-7 doesn't, but it still seems a bit redundant.
Thanks. I don’t go into DEXED too much here, but have created a sound bank for it which I think I mention and show at the end (it’s exclusive for patrons). OPsix native is a great tool as well, it makes understanding what’s happening very easy. I made a brief tutorial about the basics of FM on it. I’ve got the Arturia, but must admit I haven’t used it that much -- so much choice 😀
Perhaps if the keybeds are different as you demonstrate a fair work around would be to use a midi keyboard controller to drive both. Then the only difference would be the sound engines.
hi there.. just a little note: you say "O P six" as O and P being separate letters. But.. it's "OP six", OP like in how you pronounce Operator (or Option, optics) :) It has six engines/operations, hence the name ;)
"slight differences in a sine wave..." its a digital sine wave, how is that possible?..funny how we are now comparing digital synths zero's and ones in 2022, I do like a FM patch and playing with a DX7 clone now and then. My best mate has a Opsix, i had a play, but yeah...i agree the DX7 keybed feels superior to the plastic feel of the OPsix, and its weight is hmmm... plastic(y) which it is!.. Korg have released this as a VST along with the Wavestate now, so it is obviously just a carrier for its own software. funny times, but we are blessed with so much choice these days. Great video as usual Starsky 😎👍
Haha I was talking in general about the sound at that point but I did notice when editing that it sounded like I was commenting on 2 sines 😂 I bet someone says they can tell the difference!! Not me though.
@@StarskyCarr there is always someone starsky.. 😉👍 I bet William orbit could spot the difference lol. I totally agree with you, in a mix it would not be noticed, but a purist would spot it. I'm not a purist but, yeah I could hear differences, big differences, but I'm a geeky dick head but not too geeky as I could give a toss either way lol... 😂👍 Great stuff!
that 1:37 attack on dx7 though, opsix can't do that with those adsr's. Both examples, it's a dead giveaway, that opsix can't provide those clicky,fast colorful attacks like the dx7 can.
I have a mk1 DX7 and love it. The Korg sounds no better than Dexed, which is free! Side note: the mk1 dx7 keybed only goes up to 100 velocity but the synth does respond to it upto 127 hence why it sounds brighter when played with an external keyboard
I’m not so sure. When you’re playing them you can’t figure if it’s the keybed or the synth - hence trying using the opsix as a controller. But they’re definitely not identical.
@@StarskyCarr Sort of like when I play my Bass Station II with the Fantom. Sound like a different synth. It sounds better with the Fantom as the velocity changes makes a huge difference.
I got the opsix native but I am having a hard time wrapping my head on how to approach programming this thing lol just mostly all The algorithms just not sure when to use what etc
Start off with the simplest - use it like a filter. Then imagine you need another oscillator … that’s another algorithm with a second output op (another blue one)… then that will need a filter (in subtractive language but what you’re doing here is adding the harmonics). Now you have a 4 op system. Maybe you want to add some dirt/make a triangle then add feedback on One or both… and then I get lost!! But I try to think of the output ops like oscillators and the modulating ops like harmonic modulators or stuff changing the tone of the blue ones. Seemed to fall into place when I got to that.
OpSix was my first FM synth because I am still chasing a DX7, and didn't find the one I am looking for for a reasonable price. Korg OpSix is just the hardware interface (which I love) over a Raspberry Pi. So, it is a VST 100%, in fact, if one has a computer with the appropriate software there is no reason to get any of them. Great video as always Mr. Carr ❤️
Thanks.. I guess from a software perspective the same could be said for any digital synth. The DX7 is after all, like the D50 etc is 80s digital hardware playing a software engine. There’s chat about the output stage of the DX7 giving a certain charm but I think that has a minimal effect (although other will say otherwise). But with CPUs being so powerful the justification for hardware (even analog) from a cost and space perspective is diminishing. It’s really all about the interface.
@@zoned7609 I am all for hardware synth for different reasons. I was referring to the fact that a computer (as a generic synth) and a peripheral (keyboard or a midi controller with lots of knobs and sliders), and in that context there is no reasonable reason to get a digital synth. Even portability nowadays is pretty much done with small formfactor computers. Then why buying hardware? As I said, I am all for hardware for different reasons, let me list some of them: 1. The platform is controlled by the synth manufacturer. So, changing the underlying hardware architecture is not done by a third party: Apple did that a lot and always messed with developers. 2. It will last until the hardware dies. Even more true for analog synths. 3. More controlled environment. CPU time is used by the VST, and the VST alone. No glitches because other processes decided to run in the background. 4. (Subjective) I got a different inspiration/vibe touching the dedicated hardware, looking at it, and I like the physical representation of a "VST". Plus, it's cool to have a wall of synths 😎
@@chedwick the thing is, computers have zero place in my workflow aside from mastering. So in my world I have literally every reason to get digital synths over software since software means a desktop computer now has to be involved
I believe you don’t buy a synth to hit some random keys. This kind of videos are like to test a car only in straight lanes. You need to play it with other instruments and listen how it fit and fill a mix. This is what makes the DX7 a brilliant synthesizer.
It is important to note that the DX-7 uses yamahas proprietary linear FM synthesis, while the OPSIX uses PM synthesis. These two are very similar and produce very similar sounds, however I suspect that the audible differences may, in part, be explained by the slightly different methods used by each synthesizer to produce those sounds.
certainly a DX7 Bias in the comments, but unlike the DX-7, there's more waveforms to modulate... more than just Sine. Besides, I use the Opsix do sounds not totally associated with FM... or at least my interpretation of it.
There isn't really any comparison, since the Opsix is not supposed to be a DX7 clone. Even the manual states that "the conversion will not be perfect" (page 96). The sysex import feature is clearly only an irrelevant afterthought. I think that the Opsix deserves more attention as a truly innovative and versatile synth.
Well if you were wondering quite how close the conversion would be you have to compare them.🤷♂️. That’s all I’m doing here - not saying one is a replacement, and not saying the opsix is a clone of course it can do much more - which I say and demo.
@@StarskyCarr Yes, of course. I just wanted to say that judging by many comments sections of this and other videos about the Opsix, the majority of the synth community clearly has no idea what the Opsix is supposed to be.
Nice even headed review / overview ... though I don't see why reviewers have to use emotional descriptions like "super heavy" and "super light". "Super" they aren't, and heavy and light are subjective. Why not state the actual weight? The DX7 is 14 kg (30 lbs); the Opsix is 3kg (7lbs). Or a ratio: the Opsix less than 1/4 the weight of the DX7. There; how hard was that :)
Ah ha… but you’ve got the specs in front of you. When you’re talking to the camera and wish you could remember every spec it Is a different matter 😂 stopping to look stud up sort of ruins the flow… I decided a while back that if anyone wanted to know the exact details they could look them up but the review is the hands on experience which is rather subjective. Point taken but if I don’t have numbers to hand stuff will remain super! 😂😂😂
@@StarskyCarr -- I didn't have those specs in front of me; I looked them up -- which is to say, I researched before I published. As for subjectivity: you're right, of course; it's entirely up to you how useful your reviews are, and plenty of people describe everything as "awesome" (in what way?) and "powerful" (how?), so "super" is relatively minor in the subjectivity wars ....
The DX7 appears to have a more realistic chime part of the sound on the electric piano near the start. The OPSIX sounds more like a thin waveform attempt to create the chime part of the electric piano
Maybe .. but I wasn’t trying to hard tj match them - more showing how close they can be and how easy it is to edit the OPsix to manipulate the sounds with op levels etc. it would’ve taken me forever to match as I’m not co cinched I can yet predict what’s going to happen with FM tones.
@@StarskyCarr Yeah, I know, it was just my impression at the start. I think, certain things work better on one certain others seemed to sound better on the other. Good video, thanks :)
