What was your "game-changing" synth?

[Franz Schiller]

Funny you say that, Bif, because as a kid, I picked up an ARP 2600 for less than a hundred bucks. HATED IT. Compared to my JX-8P, which made sense to me, the 2600 was a pain in the butt, and sounded honky...although I also didn't know then what I know now.

 

For a while I used think, "Jeez, wish I didn't sell that for so cheap" but on the other hand, I totally hated it, and holding on to it all these years would have been a waste, so meh.

 

So I'm with you, I give zero craps about all the 2600 reissues. But I'm glad they're doing it for everyone else's sake!

[EricBarker]

This was me being gifted a Yamaha DX7 in 1993 at age 12. Sooooo uncool. Like being given bell bottoms in 1986. I feel like such an ass for not diving in more. Then again, programming a DX7 was kind of a tall order for my 12 year old brain (or anyone's brain for that matter).

[Bif_]

Funny you say that, Bif, because as a kid, I picked up an ARP 2600 for less than a hundred bucks. HATED IT.

So I'm with you, I give zero craps about all the 2600 reissues. But I'm glad they're doing it for everyone else's sake!

 

Boy oh boy, Franz, you and I are living on the edge, not showing the 2600 any love.

[Sundown]

Wavestation EX ... Had it for 10 years before it started having issues.. ended up selling it :-(

 

I still have mine, but the power supply is shot (the audio stutters and crackles). I"m told it might be the capacitors.

 

My father-in-law is a former electrician and I may let him give it a shot. I"ve got nothing to lose.

 

It"s an original from 1991 and I had the EX board installed years later.

 

Truth be told, I probably enjoy the VST version more, but there are a couple of sounds the software can"t get right.

[marino]

At a gut level, like being shocked in awe at first listen, two things: The Minimoog in 1974, and the Rhodes Chroma in 1983.

 

Then of course I loved and embraced many other synths, and several of them influenced my tastes in sound and my way to look at programming: Matrix-12, Kurzweil K series, Wavestation, Evolver come to mind.

 

Davolisynth

This was the 1st one I got my hands on during a jam in a friend´s basement early 70s.

A.C.

 

I *strongly* hope that you're being ironic.

Living in Italy, I was exposed to the Davolisint since the beginning, and got one as a kid - only to sell it after a couple of months. I still believe it's a strong contender for the title of Worst-Sounding Synthesizer Ever.

[Al Quinn]

My first synth was a Minimoog in 1979; it brought me into a new world of sound and provided an opportunity to try to channel my prog rock and fusion heros. Unfortunately it was an early model and drifted out of tune way too often. I ended up selling it because of the tuning issue. But that sound...loved it then and love it now!

 

The DX7 I bought in '84 was a game changer. The sounds were so amazing at that time! I learned how to program patches but, as I recall, the learning curve was steep.

 

Interestingly, my love for the Minimoog has not faded at all: the sound is timeless to me. On the other hand, now the DX7 sounds dated and I cringe when I hear those EPs I initially loved so much.

[Legatoboy]

I'd have to say MiniMoog and the OB Expander... defiantly the OB which is basically to a large degree a modular in a box, just all wired up by software ..

[Losendoskeys]

My first synth was a new DX7 bought the year they came out. Knocked me out

.

Had a few since then but the game changer was going from a Roland XP30 - which made very creditable sounds - to my Verghese ProSoloist Rack.

My Genesis tribute band fell on the floor when they heard the true ProS sounds in Cinema Show and Squonk.

[Al Coda]

Davolisynth

This was the 1st one I got my hands on during a jam in a friend´s basement early 70s.

A.C.

 

I *strongly* hope that you're being ironic.

Living in Italy, I was exposed to the Davolisint since the beginning, and got one as a kid - only to sell it after a couple of months. I still believe it's a strong contender for the title of Worst-Sounding Synthesizer Ever.

 

LOL !

I mentioned the Davolisynth because before, I only used a combo organ and getting my hands on it didn´t result in any of today´s "good" sound,- instead aroused interest in synths.

That growing interest was the game changing aspect and it leaded to the 1st and relatively cheap modular synth someone built for me,- a Formant Modular in a compact case housing 2 OSCs and the basic LFO, VCF, VCA modules.

Everything was somewhat game changing to me, also the step from combo organ to the Fender Rhodes, the Solina Stringensemble, step up from Formant Modular to easier to handle synths like PPG 1002, 1020 and because I prefered the sound, a Minimoog D.

But then Moog Taurus I basspedal ... Prophet 5 ... OB-8 ... DX7 ... Xpander ... always more possibilities and challenging.

The step up from single keyboard rig to multi keyboard rig, for me and at that time was very game changing ´cause it required other playing techniques and much more coordination of the legs/feet when more and more pedals came into the ballpark and L- and U- configuration setups required playing in standing position and so on,- and the step from an "all keyboards" rig to a 19" rack system (added MKS20, TX816, U-220, D550, D-110, Wavestation SR, TG500, SG Rack, AKAI S1000 / S1100 and EMU E64 samplers) was too because it required more MIDI control.

 

I can imagine, the step back from a large rig to a single keyboard (KORG Kronos p.ex.) and possibly together w/ a computer/ laptop based VST/AU system in addition, is very game changing as well, but I never did up to now.

Hardware and software rigs are still separate here for the time being.

 

A.C.

[Dilo]

To me, the Minimoog started it all, still sounds the best. The DX7 --> D50 --> M1 were the industry game changers. D-50 was my favorite of the 3. Even to this day, the current Kronos, Montage and Fantom are just improved versions of those 3 with much better samples and effects. Those along with Kurzweil, I believe it was the K250 at that time and then subsequent samplers from Ensoniq E-mu, Akai to the DAW to all the possibilities we have now have in software shaped the way we record music today.

[zukskywalker]

For me it was a DX7IIFDE! driving an ensoniq mirage rack and a Korg m1rex (all by late eighties fallen from grace and scored on the cheap.)

[EscapeRocks]

The one synth that really changed things for me in a good way was when I got my Triton Extreme 61 (when they were giving away a the MOSS board with new purchase).

It was the very first true workstation I ever owned, and it changed the way I could gig with all the possibilities.

 

Coming in a very close second was my then new Prophet 600. My intro to MIDI running Cakewalk on an old Apple 2E

[mate stubb]

First synth I ever saw and got to hear and examine in person:

 

 

 

The game changer:

 

[zaphod betamax]

Waldorf Blofeld and Korg Modwave.

[Stokely]

I'd say probably my Emu Proteus in the late 80s.  Until then, I was using my (awesome) JX-10 for gigs but of course it had limitations from being "just" a synth.  The Proteus really opened up what I could do, and was easy to program and use.  Being able to use the extra outputs as a submixer was great as well!  The Proteus I'd certainly call a "hall of famer" piece of gear.

The keyboards I have to work with today, and ironically that I still manage to fight fault with, are amazing as far as flexibility.  Hell I have a DX7 built into my Modx that I don't really take advantage of, on top of all the other things it can do, and it's not even a flagship model.

[Mark Schmieder]

Moog Voyager -- it's the only one I have stayed in love with, and consistently inspired by, to keep in the permanent collection. It feels like a living organic being to me, like my natural instruments (clarinet, etc.). At my advanced age, I have lost interest in polyphonic synthesis and crazy routings; I see the Voyager as having some specific personalities and roles that are highly musical and easy to create with from-scratch patches, which is also the same way I look at B3 clonewheels.

[Mark Schmieder]

The first synth that I owned that I actually enjoyed programming was the Casio CZ101, which I found incredibly intuitive and easy to achieve my envisioned sounds.

 

I did not experience much joy with the Roland Juno that I owned around that time, and all the early VA synths that I bought were a PITA as well.

[octa]

DX7. In the mid '80s we didn't seem to have much $ for food etc. but my dad found $ for great gear.(much to my mom's dismay :p) We programmed (and sysexed?) in some sounds and often used DX7 in conjunction with REX50 + MOTU's Composer & Performer on early Macs. I gigged with same DX7 'til around 2002. -- Now I just stick to Omnisphere, Arturia V and iPad apps but am trying hard not to buy a Prophet 6. 

[Konnector]

I've been buying synths/kybds, etc. since the mid-70's while still in high school. When I look back to all the ones I've owned over the years, I can't think of any one particular synth that I would rank as a "game changer". They all served a purpose/need at the time, whether it was an analogue mono, workstation, sampler, organ, piano, etc. I don't regret buying any of them, and many saw a ton of use, but "game changer" ? ... no.  

[Tom Williams]

There were two.

1. Ensoniq EPS (original 13-bit): Suddenly I had polyphonic aftertouch, and polyphonic portamento.  I could sample, and manipulate the heck out of the samples -- including creating my own wave tables.  By definition I could have 61-way splits.   On top of all that, I could now do one-man concerts with a sequenced backup band. 
2. Kurzweil K2600S:  Pianos like I had never before encountered, including some wonderful bread-and-butter EPs.  A ribbon controller that would make Emerson jealous.  Deep, deep programming.  Strings, brasses, and even double reeds which, played solo, could bring a tear to your eye.  A clonewheel engine to boot.  I've had three PC series Kurz's since then, but it was the 2600 that made me an addict.

[scoopicman]

On 1/28/2021 at 4:04 AM, Al Quinn said:

The DX7 I bought in '84 was a game changer. The sounds were so amazing at that time! I learned how to program patches but, as I recall, the learning curve was steep.

 

Same here!  I also bought it in 84.  I loved the DX so much that I bought the TX816 a couple of years after.

 

What really intrigued me in music was the sound of analog filters.  As a novice, I didn't know better, so I created those kind of sounds with the DX7 and TX816.  Forget complicated algorithms.  I would take simple 2 oscillator stacks and just layer them.  I had 9 simultaneous, detuned DX sounds.  The 816 had this mimic mode (the edit buffer, which mirrored whatever sound I was editing on the DX7 up to eight more times, and could be saved.  I just swept in oscillator two with a slow rate to create my filter sound.  Sounded like this, back in 87'.  (Two TX816 sounds, accompanied by a low pitched snare from the Yamaha RX5.)

 

DX7, TX816 Sweepers MP3

 

I never played instruments like they were supposed to be played.  I always took the lid off my sister's piano, and scraped the strings. 

[RABid]

I had a love/hate relationship with my DX7. Hated the thin sound after being used to a stack of analog polyphonics. Loved that it stayed in tune and was a fraction of the weight of my MemoryMoog or Chroma. You could not play in a serious cover band in the late 80's without a DX7.

[lsj]

DX7 and Korg Polysix

[ProfD]

7 hours ago, RABid said:

I had a love/hate relationship with my DX7. Hated the thin sound after being used to a stack of analog polyphonics. Loved that it stayed in tune and was a fraction of the weight of my MemoryMoog or Chroma. 

IMO, herein lies the reason that every KB instrument should be approached as a box of sound(s) and a blanket canvas. 

 

Try not to compare KBs.  Play and judge each KB on its merit (sound, features and functionality).

 

The DX7 was not a game-changer because it was an exact duplication of an electromechanical KB sound(s) and/or analog poly synth. 

 

The DX7 was a game-changer because it consolidated a reasonable facsimile of every KB sound required to gig in a 40 pound box.  It was easier to schlep than every electromechanical KB and some analog poly synths too.

 

Albeit with a cumbersome programming interface, the DX7 also allowed users to create their own sounds too. 

 

I would go so far as to type that in one way or another, the DX7 inspired every ROMpler and DP that would come after it.😎

[JohnH]

Everything has been so far. Juno 106, D50, Korg05Rw, RD500, Proteus 2000, Gibson Organ, MO6, S90ES, Motif Rack XS, Motif XF6, YC61.

[Konnector]

8 hours ago, RABid said:

I had a love/hate relationship with my DX7. Hated the thin sound after being used to a stack of analog polyphonics. Loved that it stayed in tune and was a fraction of the weight of my MemoryMoog or Chroma. You could not play in a serious cover band in the late 80's without a DX7.

 

FM has lotsa bite, but lacks the meat. 

 

I was an early adopter of the DX7 when they first appeared in the 80's. I always ran it through a stereo chorus pedal/compressor which helped a lot and had at least one analog style synth midi slaved to it to add some warmth and body to the sound. Sometimes up to three other synths midi'd to it. DW8000, EX800, TX81Z. That combination sounded great.

 

 

[brenner13]

So many of my acquisitions through the years have changed my musical game. First pro synth in my life was a demo Roland JX10 that I’d been bugging on for nearly a year at the local shop…ah the mid-late ‘80’s…poured my life savings of lawn mowing and snow shoveling dough into that board. Was in hog heaven for years. DX7 was cool at the time, but all my funds were still wrapped up in my beloved JX10…was perfectly happy with my choice.

 

Second big accelerant to my muse was a Roland S-550 Sampler with the Sequencer Software package for my high school graduation gift from my folks. Got to copy all the factory sample discs from the shop, too. Made so much great music with it and got to run foley and score several local high school theater projects with that thing. 2.4 megabytes and 28 seconds of sample time was amazing, cutting edge technology in 1988.
 

A used Yamaha SY77 enlighten my journey in the nineties. Missed out on the Roland D50, Korg M1 and Wavestation, but was totally rockin’ the local scene with my StarTrek monochrome monitor for the S550, the fat JX10 brass and string sounds, and the do-everything SY77 rig. Dang, those were good times!

Mortgage, Marriage, and Parenthood put the music on hold for about 6 years. Then slowly got back into it; many new and new-to-me keyboards and synths progressively improved my rig, but none really blew my doors off like the three items mentioned above, except maybe the iPad in 2012. Boy, that one really opened up the creative flood gates for about a year, but then sent me down the app-acquisition-rabbit-hole for the next decade. Unfortunately stayed far too busy keeping up with the latest thing to really focus on any one instrument and learn it well. Had a few smatterings of creative moments, but family, career, and cover bands took all available time. Not complaining though, I’m quite happy with my life choices and how things have turned out so far. 

Had a bit of a buying spree during the shut-down and got lucky with a bunch of new little toys in the last few years. Just having a blast now in my spare time making wonderful noise with all of these gadgets.

[aronnelson]

Korg Polysix, DX7, SY99, VL1, Korg Kronos.

 

Each groundbreaking in their own way. The Kronos is unbelievable in how great it has been working over the years.

[Rod S]

Two moments for me - 

 

Korg DS-8 in 1987.   My previous (and 1st) synth was a Poly 800 which I had bought used.  The Korg DS8 had (close to) a Dx7 sound I wanted, effects, touch sensitivy, multimbrality, more in depth programming and 5 octaves.   I also hated the monophonic filter in the Poly, the retriggering of the notes depending on how you played it was annoying and distracting; it just doesn't work for the 2 hand playing.    

 

The PC88mx in 1998.  It was the 1st 88 note, piano action keyboard.   I finally ' understood'  the keyboard layout, started learning how to read sheet music, being able to visually understand where the keys were relation tosheet music as well as not having to shift octaves all the time in a 4/5 octave keyboard, and relearning technique on a hammer action.    I could take piano classes and have a proper instrument to practice at home.  

 

 

[AWkeys]

My synth journey from "skinny" to "bloated" started with a Yamaha Portasound, forgot the model. Bought it at a local catalog store called Arthur's with my paper-route money. Then bought Yamaha's response to the Casio SK-1 and made lots of prank phone calls with it! My first "real" synth was a used DX-27 which I spent a lot of time learning to program. All the time I was lusting after analog goodness. This was the era of the M1, and people were letting their mono and poly synths as well as electromechanical keyboards go for next to nothing. I had about next to nothing and I spent my money wisely. Got a Micromoog for $25 and a PolySix for $75. Man was I in heaven! Got a Hammond C-3 /Leslie 122 with bench, pedals and Roll-or-Kari's for $400. My first Wurlitzer for $60, my first Rhodes for $300. Those were the days!

 

Now I have a museum of vintage gear but gig out mostly with a Nord Stage Compact. I complement it with a Kronos when needed -  to this day possibly the best workstation I've ever known - or just a weighted controller if no extra sounds are called for. I'm gonna have to say the Nord Stage has been the ultimate game-changer for me just in terms of sheer mileage and the way I've melded with it. I'm still surprised at what I get out of my Stage 2 - and people still come up to me and can't believe the sounds I coax from it.