I’ve never spent more than a few minutes in a store trying to modulate an operator with a sample.
#Opcode galaxy patch editor for dx7 driver
If anyone here doesn't already understand lining up the called-for instrument tracks as needed for the job at hand, oh my, you ARE a newbie, heh! You need FM as an up-front driver of the song, a supporting junior partner or a pre-frontal lobotomy because FM programming has ruined your life like a gambling addiction. There are some smarter approaches now, but no truly new ways of *generating* sound. Pigments offers a dusting of FM, but this is the full monty. I mostly just add a track or two of FM or additive for better definition of a thick central patch, but after corona-reviewing the crap out of the generous preset banks, I'm satisfied that I've made a good addition to my palette. I once thought 6 operators weren't enough for Big Time Synthesis, but I don't mind being proven wrong. It goes far beyond That Bell or the sharp dance basses. (The GUI is spartan, but fully capable.) There are some lush analog pads to be had, as well as near-acoustic items. I tweedled a few algorithms, to be pleasantly surprised more than expected. > Fast forward a few decades > A few months back, I skeptically downloaded the free DEXED because of the huge library. I'd also EQ the high end of analog synths for bells, just short of creating a screech. I preferred the famous DX bell as a Korg DW8000 neo-wavetable I could tweak analog-style.
I held my nose at the idea of programming FM for a long time, for the usual reasons.