The Dawn of Digital Synthesizers

The MIDI Association

Kakehashi Foundation “Dawn of Digital Synthesizers” Youtube video

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On June 15th, a unique event called ” 3-Legends of Digital Synthesizer ~The Dawn of Digital Synthesizers~ ” was held at Artware hub KAKEHASHI MEMORIAL in Nishi-Waseda, Tokyo.

This was the fourth Ikutaro Kakehashi Memorial Event hosted by the Kakehashi Arts and Culture Promotion Foundation , and featured demonstrations of three classic machines that are essential to the history of digital synthesizers.

The digital synth revolution that began with the release of the Yamaha DX7 in 1983 continued with
the Roland D-50 (1987) and the Korg M1 (1988), laying the foundation for today’s music production environment. These three machines transcended mere instruments, creating entire musical genres and defining the music scene of the 1980s and 1990s. This event brought together engineers involved in the development of each model and keyboardists who have actually used these instruments to discuss the development process and their musical influences.

Host Genichi Shinoda (composer/arranger/keyboardist) commented, “These three machines were deeply involved from the development stage. This was a valuable opportunity for developers and manufacturers to gather together for the first time in a long time and discuss core concepts while looking back on those days.”

Here’s DTMStation’s Ken Fujimoto-san’s report on the event.

A group of eight people stand on stage in front of a large screen displaying “3-Legends of Digital Synthesizer” with images of synthesizers and event details in English and Japanese; they are smiling and posing for a photo. — On June 15th, an event was held to look back on the DX7, D-50, and M1 digital synths.

At the NAMM Show held in Anaheim, USA in 1983, the first successful demonstration was conducted in which two analog synthesizers, the Sequential Circuits Prophet-600 and the Roland Jupiter-6 , from different manufacturers, were connected via MIDI cable, and the keys on one synthesizer were used to play the sound source of the other.

The DX7, D-50, and M1, which we are introducing today, were subsequently released, and the importance of the fact that technology developed 42 years ago is still incorporated into all electronic musical instruments today was discussed.

MIDI was unveiled at the NAMM SHOW in 1983. It was recreated and exhibited at Think MIDI in 2015.

A row of nostalgic digital synths were lined up on the stage at the venue, and from here on, Shinoda acted as moderator, delving deeper into various aspects of the development background of each model and its impact on society.

YAMAHA DX7 – FM synthesis takes the world by storm

The first device to be featured was the Yamaha DX7, which was released in 1983. Hirohiko Fukuda (composer/arranger/keyboardist) and Toshihito Kamisasa (former Yamaha marketing manager) took to the stage to talk about the revolutionary nature of FM synthesis.

YAMAHA DX7 released in 1983

The impact of realistic electric piano sound

In a demonstration of the actual instrument, Fukuda showed off the DX7’s signature electric piano sound. “The DX7 was the first synthesizer that allowed you to connect a sustain pedal and play like a piano. What’s more, it had touch response and 16 polyphony notes,” Fukuda said, describing the impact he felt at the time.

Hirohiko Fukuda (left) and Genichi Shinoda (right)

How FM synthesis works and the complexity of sound creation

He also gave a detailed explanation of how FM synthesis works. He gave a clear explanation of how the timbre changes when the modulator “tickles” the carrier, and demonstrated how the timbre can be dramatically changed by combining six operators and 32 different algorithms.

Fukuda explained, “There are only two (operators): tickling and being tickled. The DX7 has six of these operators, and the way they are combined is called an algorithm. Just by changing this, the sound doesn’t just change dramatically; it collapses.” He then demonstrated the astonishing change that occurred when the algorithm was changed to number 32, using the easy-to-understand metaphor that “when one carrier is tickled by five people, it collapses to this extent.”

The DX7 was a hugely popular FM sound source that created sounds by frequency modulating six operators.

On the other hand, this complexity also made sound creation difficult. It was pointed out that the shift from intuitive knob operation like traditional analog synths to a method of calling up parameters one by one and adjusting them numerically led many users to rely on preset tones and ROM cartridges. In fact, the tone ROM cartridge ” Shofuku ” for the DX7, created by Fukuda and Noritaka Ubukata at the time , became an explosive hit, and many people will remember it.

A rectangular vintage computer cartridge labeled Keyboard Voice ROM for DX PART 1 with Japanese text, credits, and a Made in Japan note, featuring a blue and white design.

Various related goods were also on display, including Shofuku’s tone cartridges.

Yamaha’s flexible development approach

Kamisasa spoke about the development system at the time, when Yamaha actively collaborated with external musicians. “Yamaha was very open. They were open to leaving things they didn’t understand up to the musicians,” he said, revealing a development approach that combined technology and musicality.

Toshihito Kamisasa, former Yamaha Marketing

Roland D-50 – A New Path for LA Sound

Former Roland CEO Tadao Kikumoto , 2025 winner of the MIDI Association’s lifetime achevement award) and developer of the Roland D-50 which was released in 1987, took to the stage to talk about the secrets behind the development of its LA sound source (Linear Arithmetic).

Keyboardist Tatsuya Nishiwaki also gave a demo of the instrument, showcasing its unique sound world.

Roland’s first digital synth, the D-50, released in 1987

LA sound source as a countermeasure to DX7

Kikumoto explained the approach Roland took following the success of the DX7. He said that in contrast to the unpredictable nonlinearity of FM synthesis, the emphasis was placed on the predictable linearity of LA synthesis. “FM is nonlinear and produces unpredictable sounds. We aimed for a linear synthesis, where you could predict what kind of sound would be produced,” Kikumoto said.

Tadao Kikumoto, former president of Roland, who was also involved in the development of the D-50

The innovative hybrid structure

The D-50’s greatest feature was its hybrid structure, which placed a PCM sample in the attack section and then synthesized the subsequent sustain section using conventional analog synthesizer methods. This idea was born out of the constraints of limited memory capacity, but it ultimately achieved unprecedented expressive power.

The D-50 is equipped with an LA sound generator that can be used with the feel of an analog synth.

“What we learned from developing the TR-808 and TR-909 is that the sound of the first few tens of milliseconds of attack is extremely important. If we use PCM only for that part and synthesize the rest with an analog synthesizer, we can create an ideal sound, even if it’s not realistic, even with a small amount of memory,” said Kikumoto.

What’s interesting is that American artist Eric Persing played a major role in selecting the PCM samples included on the D-50 . “I could roughly imagine adding the sound of a piano tap or a flute , but he said, ‘Leave it to me.’ We found truly abstract, yet effective, sounds like a flute, my own voice, or even a voice made in the bathroom,” recalls Kikumoto.

A session was also held with percussionists Ikuo Kakehashi (left) and Tatsuya Nishiwaki (right).

By the way, Eric Persing is also known as the person who later founded SPECTRASONICS, the company known for Omnisphere and Keyscape.

The first built-in synth effects

Another innovation of the D-50 was that it was the first synthesizer to have full-fledged digital effects (reverb, chorus, equalizer) built in. At the time, some people thought it was wrong to add effects after a synthesizer, but this decision significantly improved the breadth and expressiveness of the sound.

There was also talk of whether effects would be applied to the synth sounds.

Looking back on that time, Fukuda said, “Actually, when I made ‘Ikufuku ROM’ I released a cassette tape as a promotion. Naturally, I put effects on it. When I played it, I got a direct mail back that said ‘Fake’. They said, ‘You’re using effects, aren’t you?’ I got really angry and said, ‘Of course I’m using them,'” he said, expressing the complicated feelings he had about effects at the time.

KORG M1 – The ultimate workstation

Korg Advisor Norio Iwasaki and keyboardist Takanori Masuda spoke about the KORG M1, which was released in 1988. The M1 was more than just a synthesizer; it was a memorable model that established the prototype of today’s workstations.

The KORG M1, released in 1988 and a huge hit

Full PCM sound source

Unlike the DX7 and D-50 mentioned above, the M1 was a synthesizer that used a full PCM sound source. It attracted attention for its high-quality multi-sampled piano sounds and unprecedentedly expressive choir sounds. Masuda recalled his impressions at the time, saying, “When I turned it on, I was shocked by the first sound that came out, the choir sound of voice number 000.”

Keyboardist Takanori Masuda

Perfect as a workstation

The M1’s innovation wasn’t limited to its sound module. It also had a built-in 8-track sequencer and a versatile drum sound module. It also featured two stereo digital effects and four independent outputs, making it possible to create complete music productions with just one unit.

The M1 created the prototype for today’s workstations

Masuda commented, “It contained all the prototypes of today’s synths. The basic functions of today’s workstations, such as 8-track multitimbral and foot controller compatibility, were already complete at this point.”

A phenomenal commercial success

Iwasaki also spoke about the commercial success of the M1. When it was first released, the price was 248,000 yen, but by gradually lowering it to 198,000 yen and finally to 149,000 yen, it became an explosive hit. “It was the first time I’d experienced a sale without even going to the store,” he recalled. “It was a time when when you went to the store, they’d say, ‘Bring it over quickly.'”

Norio Iwasaki, advisor to Korg, looks back on the sales of the M1 at the time.

Fukuda also shared an anecdote from that time, saying, “I happened to be in the president’s office when the price was lowered. The president at the time, Mr. Kato, was there, getting angry at the sales staff. He said, ‘Mr. Fukuda, these guys are selling so many M1s and making so much profit. And yet they still say they’re going to sell it at list price.’ I thought what they were talking about, but the price really did go down after that,” drawing laughter from the audience.

Advertisements for the M1 from that time were also shown.

The appeal of sound that can only be found in the real machine

What was most striking throughout the event was the unique appeal of the sound produced by the original machines. Currently, all three models are reproduced as software sound sources, and even younger generations who are unfamiliar with the original machines can easily use them in their DTMs, but the sound produced by the original machines has a clearly different sonic texture.

Genichi Shinoda, who served as the navigator

Shinoda pointed out, “Software sound sources are audio sounds that come through an audio interface, but today’s sounds are instrument sounds. The feel of the sound is clearly different.”

Nishiwaki also commented, “I was reminded even more of how much better the sound was back then. It’s the opposite of nostalgia bias; playback equipment has made huge advances. There are sounds that couldn’t be heard back then that can now be heard for the first time when listening to them on modern playback equipment.” He reaffirmed the appeal of this timeless instrument.

Creativity born from limitations

At the end of the event, Nishiwaki made an interesting comment: “I learned that limitations lead to creativity. These days, there are so few limitations that people sometimes even impose limitations on themselves. I feel that this was an era when companies were able to thrive in the interesting creativity that was unique to the dawn of the industry.”

Keyboardist Tatsuya Nishiwaki

This phrase symbolizes how each model acquired its unique appeal through ingenuity born out of technical limitations. The limitations of memory capacity and CPU processing power ultimately highlighted the uniqueness of each manufacturer, resulting in the creation of legendary machines that will go down in music history.

Manufacturer competition and technological innovation

There was also some interesting testimony about the competitive relationships between the various manufacturers. Mr. Iwasaki recalled, “At the time, when I’d finish a business meeting and go outside, I’d see Roland’s truck parked there, unloading about 30 units. I’d spent two hours selling two units, but Roland would still bring in about 30 units without me having to say anything, so it was frustrating at the time.” He spoke frankly about his thoughts on the success of the D-50.

On the other hand, it also became clear that there was a relationship of mutual respect and encouragement between the developers at each manufacturer. Kikumoto emphasized the importance of cooperation between engineers and artists, saying, “Engineers don’t like distorting vocals and making them sound croaky. This kind of thing can be done quickly, but they give up on it because it’s not usable. However, artists discover it and find it interesting, and things like Autotune become popular. Unless engineers and artists work together effectively, new cultures will not be born.”

Next time: “Evolution from Electric to Digital”

Following on from this year’s “The Dawn of the Digital Synth,” the Kakehashi Arts and Culture Promotion Foundation, a public interest incorporated foundation, has decided to hold its next event on the theme of “From Electric to Digital Evolution: The Music Culture Born from the Stage Piano.”

This program will trace the evolution of electric pianos, from the Rhodes piano to the world-renowned stage pianos made by Japanese manufacturers. We will look back at how legendary instruments that played a major role on the live stage, such as the Yamaha CP80, Korg SG1D, and Roland RD-1000, have influenced music culture through testimonials from those involved in their development and artists.Date and Time: Sunday, September 28, 2025, Doors Open at 4:00 PM / Show Begins at 4:30 PM.Venue: Artware hub KAKEHASHI MEMORIAL (3-14-3 Nishi-Waseda, Shinjuku-ku, Tokyo).Scheduled Performers: Mickey Yoshino (musician), Daisaku Kume (keyboardist/composer), Yasuhiro Iimura (former Managing Director of Roland), Junichi Ikeuchi (former Director of Development at KORG), Takanori Kojima (former General Manager of the LM Sales Department at Yamaha Music Japan).Host: Genichi Shinoda.Admission Fee: ¥2,000 (tax included).Tickets:

https://teket.jp/11132/55968.
Related Information:

Kakehashi Arts and Culture Foundation website

Electric pianos have captivated many musicians with their unique tone, which is distinct from that of acoustic pianos, and have played an important role in the pop, jazz, and rock genres. We look forward to hearing valuable testimony about the technological innovations that Japanese instrument manufacturers have made in this field, and how they have earned worldwide acclaim. If you have the time, why not join us? This is a rare opportunity.

The author of this article

Ken Fujimoto

A writer who writes mainly about DTM, digital recording, and digital audio. He has been serializing his Digital Audio Laboratory in Impress’s AV Watch since 2001. He has also written many books, including “Complete Cubase Operation Guide” (Rittor Music) and “Vocaloid Technology Theory” (Yamaha Music Media). His hobby is solar power generation, and he has been using solar power for his home electricity since 2004. He is also the manager of three power plants he operates.