They don't make them like that any more: the Yamaha DX7 keyboard
The Yamaha DX7 synthesizer is recalled as both a revolutionary and deeply idiosyncratic instrument: its digital FM sound engine and expressive keyboard helped define 1980s pop, even as its tiny screen and membrane buttons made programming notoriously difficult. Commenters contrast FM synthesis with sampling and newer methods like physical modeling, arguing that while sampling has become dominant for realistic instruments, FM still offers uniquely dynamic, playable timbres that modern hardware and software continue to explore. The thread also touches on the DX7’s technical ingenuity, its enduring influence via clones and emulations, and ongoing debates over whether vintage units are worth owning in an era when their sound can be replicated in a chip or plugin.
FM synthesis vs. sampling and other methods
- Multiple commenters dispute the article’s implication that sampling largely replaced mathematical synthesis.
- FM is praised for its expressive, velocity‑dependent timbral changes; subtractive analog and sampling often change mainly loudness.
- Physical modeling (e.g., modeled pianos and other instruments) is cited as a modern, still‑advancing alternative to both FM and sampling.
- Some argue sampled strings and pianos can be highly convincing; others feel many “synth strings” and sample libraries still sound artificial.
DX7’s impact, sound, and legacy
- Widely regarded as an era‑defining instrument; heard on countless 80s tracks and games.
- Several commenters reject the idea that FM or the DX7 “faded into obscurity”; FM is still used in modern synths, plugins, and even cheap consumer devices.
- The DX7’s dynamic, velocity‑sensitive EPiano and bell/bass sounds are repeatedly cited as iconic and uniquely “alive.”
- Some listeners carry long‑term dislike for “that FM sound,” often due to exposure to harsh PC/game FM music.
UI, programmability, and playability
- Consensus: stock DX7 interface (membrane buttons, tiny LCD, single data slider) made programming difficult and discouraged deep sound design.
- Others argue the real challenge is FM’s non‑intuitive parameter space: great sounds live in “islands” where small tweaks can wreck a patch.
- Several note that the DX7’s keybed, velocity curves, and timbre–velocity mappings are central to its musical feel; playing it is different from merely replicating its engine.
Hardware design & technical details
- Discussion of OPL/DX FM chips: sine lookup tables, log‑domain math, table size affecting “smoothness,” and aliasing behavior.
- Explanations of DX7 aliasing at high pitches and use of keyboard scaling and feedback filtering to tame artifacts.
- Notes on DAC choices (effective bit depth, oversampling via time‑multiplexed voices) and period‑specific “lo‑fi” character.
Modern FM synths, emulations, and related gear
- Many recommendations: Dexed, Arturia’s DX emulation, FM8, various hardware FM synths (Reface DX, Opsix, Digitone, Volca FM, etc.).
- Several highlight newer instruments that make FM more approachable with knob‑rich interfaces and software editors.
Market, pricing, and collecting
- Debate on whether DX7s are “expensive” or “cheap,” with prices cited around $400–800 depending on condition.
- Some lament hoarding and speculative pricing of vintage synths; others argue these are substantial, well‑built antiques and prices are reasonable.