Relating to it's influence on 80s music, this oft repeated claim is laughable. Tom Oberheim and the late Dave Smith had demonstrably greater influence with the OB-X* and Prophet lines reigning supreme and offering lasting sonic contributions.
Relating to it's influence on 80s music, this oft repeated claim is laughable. Tom Oberheim and the late Dave Smith had demonstrably greater influence with the OB-X* and Prophet lines reigning supreme and offering lasting sonic contributions.
Nothing touches FM's velocity responsiveness until physical modeling, it sounds lame when you get used to it, but the same thing is true to the romplers that replaced it.
>Relating to it's influence on 80s music
80s is quite broad, claims like this basically just showed which artists the writer prefer. Personally, it's PPG and Moog.
??? You can make any synthesis velocity responsive. Oberheim had it, there were Rolands in the DCO era. Vangelis mastered it on the CS80.
The DX7 simply made velocity sensitive keys widely available, and critically Yamaha baked velocity sensitivity into every patch.
With FM, modifying an operator envelope can result in a completely different sound. A well-crafted patch that takes advantage of this, played by a good keyboardist, will feel alive, in a way traditional synths of that time couldn't achieve.
To the analog fans it’s VCOs that feel alive, whereas the DX7 is cold and sterile. It’s all a matter of what timbres you enjoy.