"Yamaha DX7 II FD synthesizer (with all of the trimmings!) workstation with the Grey Matter Response E! expansion board installed. This DX7 II FD is in excellent shape. All the keys work and look perfect.
This auction also includes the Original rare cartridges 101-107 and a Bo Tomlin Cartridge, the ADP1 adapter, a BC1 breath controller and a sustain pedal."
"Up for auction is a Yamaha DX7 II FD synthesizer (with all of the trimmings!) workstation with the Grey Matter Response E! expansion board installed. This DX7 II FD is in excellent shape. All the keys work and look perfect.
This auction also includes the Original rare cartridges 101-107 and a Bo Tomlin Cartridge, the ADP1 adapter, a BC1 breath controller and a sustain pedal."
YAMAHA DX7II FD FM Synthesizer with GREY MATTER E! expansion (1987)
spec:
Octal Mode (8 different patches can be played in one Performance), voice stacking, random detune, patch mapping, velocity processing, micro-tuning, pattern sequencer, arpeggiator, 4 memory banks and a lot more"
"For sale is a Yamaha DX-7 (mk1) with the Supermax upgrade installed. The display has been upgraded to a bright green backlit display. I've also fully cleaned the keys - all of the keys work evenly, and transmit velocity and aftertouch. The DX has been well tested - everything is 100% functional on this synthesizer.
Cosmetically, there are some scratches and scuffs on it, but it's still overall very clean. The volume slider is free of static and scratchiness, and the buttons all work evenly. You'll notice in the photo there's some wear on the membrane overlay. There aren't any holes (it might look that way in the photo - trust me, there aren't any), but around the #1 button, it's raised up a bit.
Now, the Supermax upgrade.
I've owned and serviced a number of these, including one with a grey matter board. I've never seen the Supermax until now, and it's stunning. You get:
- 12 banks of patch memory (256 patches total)
- 32 programmable arpeggiators
- Stack voices - this sacrifices some polyphony, but within a single patch, you can tune up to 3 additional voices +/- two octaves (coarse and fine tuning). This, is a lot of fun.
- A mono delay processor. Delay goes up to 9,930ms, with level, feedback, and pitch mod control. Unfortunately due to processor limitations, you can change the delay in real-time.
There are some other features, but these are the core of it. It also comes with the original voice chips, the old LCD, a padded case, and a manual (though, I'll have to PDF you the Supermax manual)."
"This classic Yamaha DX7II/D is in near mint condition and it is fully functional.
Grey Matter E! Module is installed.
INCLUDED: The ORIGINAL BOX, installation instructions, anti-static bag, and INCLUDED: Demonstration Software (3½" floppy disc) for the E! module, and
INCLUDED: The IC 23 CHIP, which was removed from the DX7II/D during the installation of the E! module, is also provided in the (unlikely) event that the buyer wishes to return the DX7II/D to its original factory configuration.
A NEW LITHIUM BATTERY was installed during recent inspection..."
"Comes with the original Owner's Manual, original E!Grey Matter Manual and sticker!!!" Also comes with "sheet music stand and sustain pedal that goes with the synth"
Published on Jan 27, 2013 genxtargetmarket·49 videos
Left channel audio on this one.
"This video demonstrates how to setup an initial patch that will program the 250e to function as a traditional step sequencer. If you feel lost or that your 250e isn't working correctly, set it up in the following manner:
1) Set all 16 stages to "ADV" Mode. Located near the green and red "Stop" and "Start" Buttons.
2) Set all 16 stages to the same "Time Range". The button just above step 16's outer knob. If the LEDs are off then you are in MIDI clock mode and you MUST send MIDI clock to 225e. You MUST have a 225e in order to translate any MIDI into something that the 200e can use.
3) Set all 16 stages so that the inner ring of smaller blue knobs are pointing in the same direction. It doesn't matter if they are all to the right (like in this video) or all straight up or all to the left. Just set them the same in order to rule out any errors and to make things simple.
4) Make certain that you are in EDIT mode and program at least a few steps so that Pulse 1 fires from time-to-time.
5) Connect the 250e's CV 1 blue output to the black CV input jack on a principal oscillator of your choosing. I'm using a 259e in this video.
6) Turn this oscillator's SMALL blue "CV in" knob all of the way up
7) Turn this oscillator's LARGE blue "Pitch" knob all the way down and to the left.
8) Patch this oscillator's output to a channel on your 292e. This is one of the jacks at the BOTTOM of the 292e panel. The professional studio patchbay standard is Outputs over Inputs and Buchla adhere to this standard.
9) The 250e's Pulse 1 output should go to a channel of your 281e Quad Function Generator. MAKE CERTAIN THAT the 281e channel is in 'triangle' (Attack/Decay) mode. This is the one grey button at the left side of the 281e panel.
10) Set the Attack of the 281e completely to to the left
11) Set the Decay of the 281e to at least .01 or somewhere around 9 o'clock. You may have to play with this setting depending upon how fast you've set the 250e clock. If it is too short (all the way to the left) it is very possible that you won't open the 292e channel and no audio will pass.
12) Patch the BLUE output of this 281e channel to the black input of the 292e channel that you are using in step # 8 of this description.
13) Patch the output of this 292e channel to the input of your 227e, 206e, 207e or monitoring system. The output is either of the 2 audio jacks that correspond to the channel you selected to use in step # 8
14) Set the channel of the 292e to Low Pass Gate (LPG) mode. This is indicated when both green LEDs are 'off' for that channel.
15) Test the signal flow by turning the blue offset knob on the channel that you've selected in step #8. Make sure that you can see signal metering on your 227e, 206e or 207e. If there isn't any, make certain that the input channel on your 227e, 206e or 207e is turned up. If you are using headphones, slowly turn up the level on them once you see signal metering. If you are using speakers and a 227e, you must turn up the Master Volume of A&B outputs or C&D outputs. This depends upon how you've connected the rest of your monitoring chain to the 227e. The 227e's Master Outputs are the larger white knobs above input channel #4's large blue knob.
16) Turn the 292e's blue knob back down. Push the green "Start/Adv" button on the 250e. You should hear your sequence."
"Grey Matter E! board installed by the Yamaha dealer. This expansion board adds a 16-track sequencer and increases the polyphony of the keyboard.
The internal battery was professionally replaced earlier this month (July 2011). All the keys, buttons, wheels and sliders work.
Included in this auction are the following accessories and material:
The original printed Yamana DX7 II owner's manual.
The original Grey Matter E! owner's manual.
Two blank RAM cartridges. The original ROM cartridge, containing the original, unaltered factory sounds.
One Yamaha BC-1 breath controller, with carrying case
Two floppy disks containing the following: a) Yamaha Master Disk Collection and b) E! Demonstration Software disk
An 88-page book entitled "Yamaha Easy DX7"
A 162-page book entitled "Yamaha DX7 II FD: A New Beginning", by Lorenz Rychner (Alexander Publishing)
A 193-page book entitled, "E! Update for the Yamaha DX7 II", by Steve Preskitt (Alexander Publishing)
The entire 18-volume Yamaha DX7 II FD Supplemental Booklet series, covering these topics:
Quick Reference Guide
Utility Parameter Reference Guide
Modifying Preset Voices
MIDI Technical Data and Charts
Advanced Microtuning Data
The Psychoacoustics of Microtuning
The Acoustics of Microtuning
The Mathematics & History of Microtuning
Exploring the Preset Microtunings
Macrotuning
Creating New FM Voices
Voicing Parameter Reference Guide
Memory Management
Realtime Parameter Change
Advanced Controller Usage
Understanding Fractional Scalings
Programming Fractional Scalings
Advanced MIDI Applications"
"Includes the (somewhat rare but extremely useful) Grey Matter expansion board installed. It is version 1.20.
Some of the features of the Grey Matter expansion:
# extra patch memory (with function data for EACH patch)
# patch mapping
# master contoller functions
# transmission on two midi channels
# stacking of sound (makes it thicker but only 8 note poly) # 8 voice multi-timbral capability
# a sequencer
# a MIDI monitor
# a simple, "interactive" player mode"
A quick note: This review is long. You can jump to sections that interest you vs. reading it straight through if you prefer. This review focuses primarily on the synth engine for one single patch on the Venom. The Venom supports Multi mode with up to four multitimbral parts. Not only can you layer sound programs but you can set global parameters for the set. Be sure to see the Multi mode section of "Tips and Tricks via Taiho Yamada" at the end of this post. Taiho is the Lead Project Manager of the Venom and served as my contact during the review. I want to thank Taiho for his help and enthusiastic generosity. He is a true synthesist and the Venom is his baby.
Synth connections: Taiho previously worked at Alesis on the Andromeda A6. The DSP developer of the Venom worked on Radikal Technologies' Spectralis and the Accelerator. People that contributed to the presets via sound design include Richard Devine, Francis Preve, Mark Ovenden (Avid's AIR Instruments, ProTools VIs), Joerg Huettner (Waldorf, Access, Alesis), and of course Taiho Yamada.
*Don't miss the "Q&A with Taiho" section towards the end of the review. Also keep an eye out for "Taiho's Tips and Tricks" throughout the review in grey. You can find the consolidated list below the Q&A section.
"Yamaha DX7 Grey Matter Response "E" Board removed from a DX7. This board was a working unit when it was removed. This is for the DX7 series one, not meant to work with the DX7II. Comes with install instructions, operational manual and of course the "E" board label."
In December 2003 I purchased my very first TB-303 via Peter Forrest’s VEMIA auction, it was immaculate and functionality perfect. In the next couple of years I purchased several TB’s, but it was clear that the first was the nicest, and so, in 2005, I sent it off to Robin Whittle to undergo the Devil Fish treatment.
In a stroke of luck, I happened to be lucky enough to acquire one of the revered and totally gorgeous alu cases that Martin Rothlisberger designed in his spare time and sent this to Australia so that Robin could built the Devilfish into it.
The fitment into the case is a very tricky affair, they are carved from solid blocks of aluminium by a computer, and thus super accurate; the problem lies in the TB itself, which hailing from the 80’s is not so accurate! Some of the potentiometer positions can subtly vary, and there are other pitfalls, for example the wires can get pinched in different places. This TB has been fitted to the highest standards possible. There are crazy aspects to it, like 2 by 2 carbon fibre washers, an even larger capacity lithium battery than the one Robin uses as stock for the bank memory back up and the rear of the case attaches via precision machined titanium bolts. It’s a functioning piece of design / art.
Robin strikes me as the classic genius engineer and in implementing the modification, I guess his priority is in making sure everything works, not necessarily whether it looks beautiful. As a result, I have expertly implemented a host of cosmetic amendments myself to make things like the LED’s shine more attractively, the knobs sit at a comfortable height and, perhaps most practically, I have implemented a delightfully simple but important idea that buffers the main PCB board, in the event that the machine ever falls face flat, which due to the design by Roland, does leave the machine quite susceptible to a cracked PCB. Some of the ideas I have shared with Robin (to his interest!), others I have not as yet, but I suspect he and other TB enthusiasts would find them interesting, if not a touch obsessive :-)
As the numerous pedantic personal touches might indicate, I never foresaw parting with this machine, but am contemplating it primarily for two reasons, I have another Devil Fish (non MIDI version) so I wouldn’t miss this one all that much, principally I am interested to acquire something entirely different for my studio, which would entail raising the necessary funds.
"Yamaha DX7 II FD synthesizer (with all of the trimmings!) workstation with the Grey Matter Response E! expansion board installed. This DX7 II FD is in excellent shape. All the keys work and look perfect. 
"Up for auction is a Yamaha DX7 II FD synthesizer (with all of the trimmings!) workstation with the Grey Matter Response E! expansion board installed. This DX7 II FD is in excellent shape. All the keys work and look perfect. 
"For sale is a Yamaha DX-7 (mk1) with the Supermax upgrade installed. The display has been upgraded to a bright green backlit display. I've also fully cleaned the keys - all of the keys work evenly, and transmit velocity and aftertouch. The DX has been well tested - everything is 100% functional on this synthesizer.
Now, the Supermax upgrade.
"This classic Yamaha DX7II/D is in near mint condition and it is fully functional. 
The internal battery was professionally replaced earlier this month (July 2011). All the keys, buttons, wheels and sliders work.
The original ROM cartridge, containing the original, unaltered factory sounds.
# 8 voice multi-timbral capability
via this auction
Robin strikes me as the classic genius engineer and in implementing the modification, I guess his priority is in making sure everything works, not necessarily whether it looks beautiful. As a result, I have expertly implemented a host of cosmetic amendments myself to make things like the LED’s shine more attractively, the knobs sit at a comfortable height and, perhaps most practically, I have implemented a delightfully simple but important idea that buffers the main PCB board, in the event that the machine ever falls face flat, which due to the design by Roland, does leave the machine quite susceptible to a cracked PCB. Some of the ideas I have shared with Robin (to his interest!), others I have not as yet, but I suspect he and other TB enthusiasts would find them interesting, if not a touch obsessive :-)
