Yamaha CE-25

The perfectly staged market launch of the Yamaha DX-7 in 1983 had been thoroughly prepared for over several years. It also recognized the demand for new types of FM synthesis sounds.

FM synthesis was no longer a totally new concept. In fact, a simple form of FM synthesis can even be created using the Minimoog. The wide frequency spectrum of VCO 3 acting as the modulator for both oscillators and FM synthesis with two so-called operators are pleasing to the ear. Or maybe not. Multiple, subtly used operators are needed for the fullest sounds.

In 1980, Yamaha floated their first trial balloon with the luxury GS-1. And the balloon burst, along with multiple bank accounts. The decision to purchase the GS-1 or a bright-red luxury vehicle from Italian manufacturer Maranello caused huge headaches.

Then came the significantly more compact CE-20, and quite rightly the CE-25 soon after. At a purchase price of only around 8 percent of the GS-1, in the end, both were possible: FM synthesis AND a red sports car. And the CE-25 could at least be parked vertically on the front passenger seat, so long as the space wasn’t taken up by any other valuables.

The rather unimpressive exterior of the 8-voice polyphonic CE-25 with its 4 FM operators is echoed by its highly limited editing possibilities. However, it also sounded like nothing else at the time and was thoroughly charming. The CEO even stated: “Jikandesu tame ni DX-7,” which is Japanese for:

The time for the DX-7 is now!