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Not Just for Hackneyed 80s Sounds...
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.
The balance between complexity and musicality.
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.
Everything you need to make high-quality music, including Yamaha Education Suite learn-to-play functions, in an affordable package.
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.