Knowledge of analogue synths proved less transferrable than was originally hoped and many musicians found themselves restricted to the DX7’s presets, unable to navigate the complex menus and submenus on the DX7’s LED screen.

The DX7 did things differently in terms of control and display, and whilst this brought musicians welcome innovations- such as the ability to name patches- it also meant that much of the DX7’s mastery lay beyond the reach of the average synth enthusiast.

In a market which was already accustomed to synthesis, the DX7 was perfectly poised- fresh and innovative enough to take the world by storm, but still recognizable as an instrument which was part of many musicians’ arsenals. The ability to create different sounds- including plucked sounds and glassy or metallic noises- meant the DX7 sold over 150,000 units in one year, beating the Minimoog’s legendary release by a huge amount. The DX7 in it’s final form had a noticeable advantage over any pre-existing analogue synths as it was able to mimic sophisticated sounds and timbres such as brass and strings much more effectively. The Yamaha company fine-tuned the FM algorithm to improve the brightness of the sound and released a basic digital synth, the GS1, followed by DX series prototype, the CSDX, after which came the DX1 and DX5 before the DX7 burst onto the market. The pioneer in digital FM synthesis, the DX7 came from humble beginnings in a university laboratory before being turned into a bestselling and iconic instrument.Īfter Stanford University professor John Chowning developed digital FM synthesis after experimenting in order to create brighter sounds, he patented the technology and eventually found a collaborator in Yamaha. The Yamaha DX7 has gained a reputation for being so complex and intricate that very few people have been able to master its full inventory of sounds, features, and capabilities.

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