Asked about what sound source is used with the talkbox, P-Thugg says, "An old Yamaha DX100, which is what Roger from Zapp used. I became friends with one of the guys from his band, and he sent me the patches by email as MIDI Sys Ex files. I just dumped ’em in, and there were all his sounds. I couldn’t believe it. The whole first row of buttons is one sound that’s transposed - since he had to concentrate on singing with the talkbox, he played in a comfortable key and selected the different patches for the different songs." via [Guitar Center Interview](http://gc.guitarcenter.com/interview/chromeo/)more
Everyone thought the [Yamaha] DX100 was amazing to do bass lines, but we didn't do that for ages. It seemed like there was so much more to them to explore, like they're good for brassy, reedy sounds. You could be working for five years with a crappy drum machine and delay unit and still find new things in there.more
In the interview they ask "What specifically are your favorite pieces of gear? What can''t you live without in the studio?" To which Mark responds "Moog Minimoog, Yamaha DX-100, a spring reverb, Echoplex Tape Echo, EMS Synthi A, Universal Audio Precision Maximizer, ARP Odyssey and a Waterphone. I probably have used the Minimoog on more tracks that any other synth that I own."more
Although he uses software synths, Laurent Garnier favours the hardware variety, particularly where lots of knobs and sliders are available. Vintage keyboards in his The Kub studio include Roland Juno 106 and Jupiter 8 and Korg MS20 analogues, plus the under-rated Yamaha DX100 FM synth (bottom right), while Garnier also uses the Kurzweil K2000 workstation (top right).more
Another little classic machine. If I remember correctly, it was much used together with the Casio CZ 101 by various artists from the past. Easier to edit than the DX 7 and it does sound slightly different, a bit more metallic. A great synth to have around. It was the first synthesizer I ever bought.more
At the back of the album cover of the Rendez-vous album by Jean-Michel Jarre is a list of used instruments. In short: Seiko DS 250, Synthex, Moog, Roland JX 8P, ARP 2600, Fairlight, Emulator II, Eminent, AKS, Lynn 9000, Memory Moog, Drumulator, Laser Harp, RMI, Seiko DS 320, OBX, DX 100, Matrisequencer, TR 808, Prophet, Casio CZ 5000, Baby Korg personal keyboard.more
It is one thing to know what FM synthesis is about, to know ratios and values of operators, but it is another to actually connect it to the music - that is what this synth has done for me. It has showed me how vast the world of FM synthesis is, even in the limited format this synth offers. I never feel creatively limited however, even with just 4 operators and simple amplitude modulation this synth's palette is far more complex than anything a subtractive synth could offer, besides, its limitations are what keep me interested in the process. There really is a whole universe of bells, mallets, organs, voices, reeds and textures in here that are very usable, and this machine that I have randomly stumbled upon is now one of my favorites for sitting and exploring.
I owned a DX-7 for a period of time. I found the six operators to be somewhat unwieldy, because the way the algorithms are set up makes it difficult to keep tabs on each operator at all times. I found that performing certain parameter edits to one operator to achieve a certain sound would often result in some unintended side effect, because I was not taking into account the relationships between all of the operators. This would cause unwanted high-pitched screeches or sub-frequency rumbles that would then have to be filtered out with EQ or by running the DX-7 though an analog filter. I felt that the DX-7 was too complex for me. I wanted to focus more on making music, and less on scrutinizing the settings of the operators and the interactions between them. I sold the DX-7 and bought a Yamaha PSS-480, which has, instead of the six operators in the DX-7, only two operators. This meant that I no longer had access to the complex modulation algorithms available on the DX-7. I now was forced to make do with simply one modulator and one carrier. This allowed me to focus purely on making music, but I found the sound to be rather limited, almost like a basic analog subtractive synth. I then turned my eye to the DX-100. It balanced complexity with musicality, and I craved it. The DX-100 indeed does strike a very desirable balance. It has four operators, which, in my mind, is not so complex that I struggle to wrap my brain around the relationships between them, but not so simple that I run dry of new, uncharted territory in a matter of days. The DX-100 is, therefore, a perfect learning tool for anyone interested in FM synthesis, as it is much easier to program than one of the more fully-featured models like the DX-7, but it isn't by any means boring. And yeah, you get that gritty 80s FM sound. That's a winner in my book.
This Keyboard is an all-round keyboard that is ideal as a starter instrument but also a robust alternative for experienced players who seek advanced features for their live performance and/or for their composing. Its powerful sound system boasts two 6W amplifiers and its wide range of features, controls, and connectivity make the PSR-E453 a long-lasting musical companion as you grow and hone your skills.