In 1985 there came a choice: upgrade to a Jupiter 6 and keep the synthesis that I knew well, or swap to the DX7 and start again from scratch. Both were very expensive, both would bring change – but the DX7 would demand a huge leap. In 2024 Frequency Modulation seems familiar, even old fashioned. We’ve all seen the algorithms and the waveforms and all the paraphernalia for so long that it’s almost family. But back in 1985 that big slab of keyboard with nothing but rows of squishy buttons and a couple of sliders may as well fallen out of a UFO.
It was impressive. Solid. Heavy. Well made. It looked like it was worth the money and that somebody was proud of it. I thought if I was going to spend that much – then I may as well leap that far.
The first weeks were terrible. The presets were good – I mean the piano wasn’t much of a piano but more so than a Juno 60 had managed. But those squishy pads… There was pressure to justify the cost by patches that showed off FM synthesis. If I could go back in time I would tell myself – ‘be gentle’, ‘be subtle’, ‘use small amounts’, ‘just do two ops at a time’. But instead it was all sizzle boing clank ping klunk etc. It was really hard to understand what the hell you were doing. No graphic to visualise what was going on. What were the reasons behind algorithms – which one to use? Why? When to use three operators rather than two, what that might do?
Thankfully the sound of a DX7 was striking at the time and my audience thought it very modern. I’m happy with the old albums because they were of the moment – I would never do it that way now – but that was the futuristic sound of 1985. Eventually text books came and I could read what the hell it was all supposed to be about and why.
Only when I got the TX81z did I have a simple workspace to design in FM. There was less to do and more pre-prepared in the larger set of waveforms. By the time I had a SY77 it started to be familiar. Although you could now do FM with samples it would invariably sound horrible. Just stick to the basics, everything would be fine. I mostly did.
These days you can get software that does FM in an obvious way. You can also program the old hardware with new software interfaces. Maybe that’s why there’s a crazy tendency to add even more operators. Who the hell needs 8 operators now supplied in FM-X? Or more! Crazy kids!
If you really do want to take up FM hardware I really think this is the way to go…
can I ask what was involved in/responsible for the WAVESTATION-like fm sequences in Big Blue is Back and Jetlag? were you cutting those up by hand or flipping through programs live?
The sequence in Big Blue is back is actually created on a Roland Juno 60. I had a Commodore C64 and a Steinberg Card 32. As you suggested the Card 32 is quickly changing through the presets and the synthesiser is playing the note to preview the patch.
I’m not sure which sound you meant in Jetlag, I’m probably just twisting the knobs. The main take here is that it’s the simplest method.
sorry; I meant “Jetlag Down (Live)” off of the rerelease of Bad Mood Guy, definitely sounds like the same thing. dexed doesn’t reach that same rate of program changing live. i’ve been meaning to get closure on that since I don’t have an original DX series synth of my own to try that technique. thanks!