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People loved the presets and people got past the interface and made great stuff on it that didn’t sound like those cheezy electric piano sounds. I wouldn’t be surprised if it isn’t the best selling synth in history. I loved it back then for being new, now I can't stand those shrill crackly presets, but like some pads and its classic EP. Not even Behringer would bother making it again. that's where I am puzzled about how it has faded and compartmentalized itself. new, fresh, clean sound!! Every hit song grabbed it for a few years.
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Yeah, but you remember how outside the box COOL it was when it came out? So different than all those standard buzzy analog beasts. Today's ubiquitous sounds are tomorrow's laughable clichés, and the day after tomorrow's fond nostalgia. But the instruments didn't change we did. It's strange how I now hear people talking about the "cheesy" and "dated" sounds of the DX7 and other 80s favourites, but at the time, it was the 70s analog instruments that everyone thought of as total cheese.
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When I talked about wanting analog instruments with knobs so I could sculpt and create my own sounds, people looked at me like I was trying to bring back 8-track tapes. In 1988 when I first got into all this, the general outlook was that all those things were over and done with, and the glorious future was all about sleek boxes with massive multitimbrality, polyphony, hundreds of imitative presets, built-in sequencer/effects so you could make a complete smooth jazz track right out of the box, and zero controls. If you'd told me in 1990 that one day I'd be able to go into a regular music gear shop and see modular equipment, monosynths laden with knobs, and products from brands like Moog and Sequential, I would never have believed you. Seems like most modern synths are back to knobs and slidersYes, everything is pretty much upside-down compared to 30 years ago. but that's an entirely different ballgame. The only FM implementation that tops it is the SY/TG-77 and maybe some of the rare 8-OP implementations. Now, combine that potential with the UI advantages a modern computer brings to the table.
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You could also use it to build individual parts of a sound - the TX-816 version of the classic 'tines' piano patch dedicates the equivalent of a DX-7 to each part of the sound (hammer strike, tine resonance, etc) to make a much more detailed and full version of the original patch.Ī so-80's-it-hurts demo, but it gives you an idea of what was possible in 1985 Take any DX-7 patch, slightly detune each TF-1 and use the mixer to pan the detuned synth across a stereo field for a huge space-filling shit-your-pants sound. There is so much more that can be done with this setup versus a regular DX-7.
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Step 3: Edit your 8x DX-7 monster synth with software over MIDI Step 2: Buy an XLR snake and dedicated 8 channel mixer Step 1: Buy TX-816 (or one of the versions with less than 8 TF1 modules)