[fuhsnn]

>poorly simulating a broad range of superior instruments

Nothing touches FM's velocity responsiveness until physical modeling, it sounds lame when you get used to it, but the same thing is true to the romplers that replaced it.

>Relating to it's influence on 80s music

80s is quite broad, claims like this basically just showed which artists the writer prefer. Personally, it's PPG and Moog.

[relaxing]

> Nothing touches FM's velocity responsiveness

??? You can make any synthesis velocity responsive. Oberheim had it, there were Rolands in the DCO era. Vangelis mastered it on the CS80.

The DX7 simply made velocity sensitive keys widely available, and critically Yamaha baked velocity sensitivity into every patch.

[vvillena]

The FM trick is that the available parameters that can be modulated through velocity result in a wider range of tonal variation, where traditional subtractive synthesis is usually simpler, and velocity changes affect parameters that don't result in wide changes to the tone, such as volume or filter envelopes.

With FM, modifying an operator envelope can result in a completely different sound. A well-crafted patch that takes advantage of this, played by a good keyboardist, will feel alive, in a way traditional synths of that time couldn't achieve.

[relaxing]

I get it, you’re an FM fan, and I think that’s admirable.

To the analog fans it’s VCOs that feel alive, whereas the DX7 is cold and sterile. It’s all a matter of what timbres you enjoy.

[pantulis]

Not forgetting aftertouch.