Martkorg wrote: ↑
Sun Oct 07, 2018 6:50 am
Have to say not really a fan of Yamaha although in the early days i had a CS10 which was good i moved to the DX27 and hated it,then the Yamaha CS1x which was ok but not great
Everybody has different taste and not all like yamaha DX-flavor FM sound. However a few of the low-end early Yamaha DX synths including DX27 (if I recall correctly) were probably mistakes for Yamaha to ever sell, because the keyboards were not velocity-sensitive (though the synths were velocity-sensitive to received MIDI).
Before about the time of the DX7 very few analog poly or mono synths had velocity sensitive keys and were quite usable without velocity sensitivity (but would have been more awesome had it been included). As best I recall the Prophet T8, Arp Chroma, Arp/Rhodes Chroma Polaris were among the earliest analog hybrids with velocity sensitivity.
I guess at that time it costed "more than a dollar or two" to add velocity sensitivity to a synth and so Yamaha left it off a few of the lower-price DX synths, but the velocity is more important to a DX FM sound and they sound rather wimpy bad 1-dimensional without velocity sensitive playing. A "big advantage" of the FM was very good timbral response to velocity, so under the control of the fingers one FM patch could have LOTS of timbres depending on how hard the musician plays each key. If the sound is too bright, the musician just plays easier and the sound mellows out, etc. But if you "freeze" that big timbre range into one tone that always comes out every time you whack a key regardless how hard or soft, any one "frozen snapshot" of that wide-range of timbres sounds like crap, or at least thin and boring.
FM just doesn't do good without velocity, IMO. But you may have not liked the sound even with velocity response. Just sayin, I liked DX7, TX7, TX816 etc quite a bit but couldn't stand to play the few early non-velocity DX synths which sounded awful with the timbre so limited on each patch.
Occasionally have heard timbre complaints about FM from folks who step-time in constant-velocity patterns to the computer, or entered with notation programs or piano roll, or "slamming" players who always pound the keys. Its the same deal. Most FM patches played with all notes slammed at high volume are not gonna sound so pretty because the highest-velocity tone is sposed to be the "spice" not the meat-and-potatoes. But any middle or low constant velocity playing gives the same boring result, in that case too much potatoes and not enough spice.
Watchful wrote: ↑
Tue Sep 25, 2018 12:13 pm
The Montage doesn't have one, and I don't see where it would be on the MODX (the two operate very similarly but VERY different from the MOXF or Motif lines); on the other hand, there's 1.75GB flash ROM for your waveforms on both the Montage and MODX, so its storage is pretty big as is...but not sure how that compares with a tricked-out MOXF.
I haven't imported samples into the Montage yet, but Yamaha is insisting I start using Sample Robot for the Montage, and since it's free, I'm inclined to try. I imagine the process for the MODX is identical.
Thanks Watchful. When I read in a message above that one diff between Montage and MODX is that MODX has 0.75 GB less memory, I assumed a chunk that big would be reduction of sample flash storage. Was just a wild guess. Usually patches and sequences and such require hardly any memory at all compared to samples, and that is a big difference if the info is accurate. Its hard to believe that either Montage or MODX would need anywhere near 0.75 GB for ALL patch and sequence storage.
But if the MODX has 1.75 GB Flash "factory installed" than I think that is more than you could usually get with a MOXF + memory card. I vaguely recall MAYBE seeing a 2 GB Motif/MOXF flash card but think the usual sizes were 512 MB and 1 GB, and all the flash expander cards were fairly expensive add-ons.
So if the MODX had 1.75 GB user sample memory built-in, almost sounds like they are "giving away the store" considering all the other goodies, and the price.