Hahaha ;-) no he is an actual person who likes reviewing pianos: james pavel shawcross
You're either too young, a new member here, or maybe you don't understand middle eastern sarcasm.
To be honest with you, you have no (zero) idea about what professional gear should be.
So here is my feedback on your post. You're comparing potatoes and watermelons. DGX670 is definitely not a professional instrument. It has the worst 88-key action Yamaha manufactures at has the worst arranger capabilities. Not even the same as the entry-level PSR-S670 (or even PSR-660).
The DGX670 is just great and I believe perfect for professional use
Not true. What is a professional use? Are you talking about the studio? the stage? or song ararngement?
Studio: I need an absolute killer "bread and butter" voices, awesome action, and control capabilities. If I have some old gears, I need MIDI I/O. I don't need a garbage internal speaker because I have great monitor speakers in the studio and standard monitor headphones.
Stage: On the stage, bread and butter voices are the most important ones. I don't play "acoustic guitar" nor do I play flute on my stage keyboard. There is a monitor on the stage dedicated to me and I don't need the internal speakers. I also don't need an audio interface. Because on the stage using a USB audio interface is useless. Sometimes you don't even have a stereo cable available!
Music production: DGX-670 doesn't have a sequencer and you can't even do a professional arrangement on it. It sounds terrible for music production. It's a beginner instrument. No compressor effect, no side chains, limited capabilities even for creating styles!
My MOTIF XF which is a monster compared to the DGX series in terms of functionality is still a toy compared to a DAW. No professional would use an arranger to compose an audio track. Maybe if you want to play something for kids in the kindergarten or at home it is okay to use a style from the DGX series. I wouldn't take it to a serious gig.
Also in Yamahas favour I will say that the GHS keys are actually as good as the Kawai MP7se ones. THe touch is great and the keys turn to their resting position swiftly, have a good cushion feeling at the bottom/base and one doesn't tire though playing intensively for a long time.
GHS lacks escapements, counterweights, and other features. Try to learn about how acoustic piano's action work and you'll start appreciating the RHIII behavior.
THe MP7se got me tired quite quickly (and I believe Pavel said that this owes to there being some resistance all the way down, whereas the Yamaha only gives it at the start but then willingly and easily follows the fingers movement). ALso I believe that though GHS has 2 sensors, still the controle and nuances of one's playing is heard very well. Especially if having several layers of sound I believe not many will be able to hear the difference (even with just the piano).
The escapement is what your keyboard lacks. You didn't properly understand what Pavel said, or Pavel knows little about actions. The 3rd sensor contributes to faster performance. I have played GHS keyboards before (MOX/F 88 and MODX 88) and it's nothing near RHIII. RD2000, P-515 all have these same features and they have escapement.
I believe that most of the reason for the MP7se's fame owes to the combination of the keybed and the very meticulously sampled piano sounds. It is hard to hear what owes to the sampling and what to the keybed. I played them both side by side, including without sound, a lot recently and honestly I find the DGX670 keybed at least on par with that of the Kawai Rh3.
MP7SE is a stage instrument. Manufactured for professionals and those who want to perform on the stage. DGX670 is built to be played at home.
I even started to prefer the GHS after a few days. But I guess one needs to get adjusted to the feel. ALso the DGX670 feels lighter just as you return from having played the MP7se, but quickly this impression leaves one. Also my precision actually seemed to be as good or better when playing the Yamaha. So the hype about Yamaha's GHS being 20 years old is nonsense if it works well.
It's the worst action Yamaha manufactures as of today. It's a fact.
SO I return the Kawai one which does not even have an audio interface, thus no mic inlet. This implies a lot of cabling in order to simply hear the play back of software VSTs, when mixing one’s music or when doing casual listening from the web. The DGX670 has a very easy Bluetooth connectivity which works. From where I listen it is just not practical with all those cables plus an audio interface means more tech stuff and adjustments, as opposed to focusing on playing. If you don’t have a band and a need for a mixer or several instrumental inlets then it is bothersome and costly to have to get a sound interface.
You wanted something for home use, and your first choice was base on you not being familiar with your needs.
You have little understanding of why an audio interface is not significant to have in the studio, or on the stage, or for music composition and you don't know how to set up and manage your gears accordingly.
Bluetooth connectivity has a delay. You have a bare minimum audio interface on the DGX. What I want is a professional mixer that can handle multiple instruments. In the studio I'd rather have optical/digital I/Os on my devices rather than an interface. Genos actually has it.
ALso the DGX sounds are just great out of the box plus it has all the arranger functionality.
You must try the older DGX series first. The bread and butter sound set you get in the DGX series doesn't sound the same as Yamaha's stage instruments nor MP7SE. Acoustic guitars or flute and saxophone aren't bread and butter voices.
Perhaps the ability to switch to a lighter touch in an instant, such as what the Kawai MP7se provides (well it is very easy to change the sensitivity on the DGX670 actually and not deep inside some menu: Two ways to change and in the piano room mode it is two button presses + with the direct access around the same I guess). THen one can instantaneously change the keybed feel from one, optimised for the piano focused pianist, to a keybed for the more synth/organ focused player. I might be contradicting myself and perhaps the keybed is not the issue but the sampling which might be of higher quality for those before mentioned DPs
The rest of the points you're making are all relates to you using this instrument in a basic home setup.
Let me just give you two examples:
Change a voice on your DGX670 while pressing the sustain pedal and see what happens. That will never happen on MP7SE.
Can you find a MIDI I/O at the back of your keyboard?
Anyway, if you didn't like MP7SE it's fine but comparing DGX670 and MP7SE and conclusions like yours are like saying I like potatos but I don't like watermelons. It's not a comparison. I hope you see the point.