If the sound of 1980's pop was defined by any one instrument, it was the Yamaha DX-7 digital synthesizer, released in 1983. Although programmable, many artists were satisfied with just using its preset factory patches. Give the artist and title of these DX-7-heavy songs, separated by a slash (eg. Sir Mix-a-Lot / Baby Got Back).
| Rank | Player | Total | %ile | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Money Value (% Incorrect): | 15 | 45 | 30 | 56 | 30 | 63 | 86 | 71 | 63 | 45 | 63 | 60 | |||
| 1 | DuffyM | 501 | 98 |
15 |
15 |
15 |
15 56 |
15 |
15 |
15 86 |
15 71 |
00 |
15 |
15 63 |
15 60 |
| 2 | WeikleB | 463 | 94 |
15 |
15 45 |
15 |
15 56 |
15 |
15 |
15 86 |
15 |
15 63 |
00 |
15 63 |
00 |
| 3 | SorensonG | 422 | 90 |
15 |
15 45 |
15 |
15 56 |
15 |
15 63 |
15 |
15 |
00 |
15 45 |
15 63 |
00 |
| 4 | Makdeezy | 377 | 87 |
15 |
15 |
15 |
15 56 |
15 |
15 63 |
00 |
00 |
15 63 |
15 |
00 00 |
15 60 |
| 5 | MeyerS | 374 | 83 |
15 |
15 |
15 30 |
15 56 |
15 30 |
15 |
00 |
00 |
15 |
00 |
15 63 |
15 60 |
| 6 | Matto | 347 | 77 |
15 |
00 |
15 |
15 56 |
15 |
15 63 |
15 |
00 00 |
00 |
15 45 |
15 63 |
00 |
| 6 | Tortoise | 347 | 77 |
15 |
15 45 |
15 |
15 56 |
15 |
00 00 |
00 |
00 |
15 63 |
00 |
15 63 |
15 |
| 8 | BoyerA | 329 | 72 |
15 |
15 45 |
15 |
15 56 |
15 |
00 |
00 |
00 00 |
00 |
00 |
15 63 |
15 60 |
| 9 | BruceM | 321 | 68 |
15 15 |
15 45 |
15 30 |
00 |
15 |
15 63 |
00 |
00 |
15 63 |
15 |
00 |
00 |
| 10 | JordanG | 317 | 64 |
15 |
15 45 |
00 |
15 56 |
15 |
15 63 |
00 |
00 |
00 |
00 |
15 63 |
00 00 |
| 11 | BurgerM | 314 | 59 |
15 15 |
00 |
15 30 |
15 56 |
15 30 |
15 63 |
00 |
00 |
15 |
15 |
00 |
15 |
| 11 | GoodmanDL | 314 | 59 |
15 |
15 45 |
15 30 |
00 |
15 |
00 00 |
00 |
15 71 |
00 |
15 |
15 63 |
00 |
| 13 | PenningtonJ | 303 | 53 |
15 15 |
00 |
15 30 |
15 |
15 30 |
15 |
00 |
00 |
00 |
15 45 |
15 63 |
15 |
| 14 | shesinsane | 266 | 50 |
15 15 |
00 |
15 30 |
00 |
15 30 |
00 |
00 |
15 71 |
00 |
15 45 |
00 |
00 |
| 15 | CoenM | 228 | 44 |
15 |
15 45 |
15 30 |
00 |
15 |
00 00 |
00 |
15 |
15 63 |
00 |
00 00 |
00 |
| 15 | JonesRW | 228 | 44 |
15 15 |
00 00 |
15 30 |
00 |
00 |
00 |
00 |
00 |
15 63 |
00 |
00 |
15 60 |
| 17 | MangaserA | 213 | 38 |
15 15 |
00 |
00 |
00 |
15 30 |
00 |
00 |
00 |
15 63 |
15 45 |
00 |
00 00 |
| 18 | milton | 206 | 35 |
15 15 |
15 45 |
00 00 |
15 56 |
15 30 |
00 |
00 |
00 |
00 |
00 |
00 |
00 |
| 19 | ElendilPickle | 183 | 31 |
15 15 |
15 |
15 30 |
00 |
15 |
00 |
00 |
00 00 |
15 63 |
00 |
00 |
00 00 |
| 20 | MatherV | 161 | 27 |
15 15 |
00 |
15 30 |
00 00 |
00 |
00 00 |
00 |
15 71 |
00 |
00 |
00 |
00 |
| 21 | randalleng | 150 | 22 |
15 15 |
00 00 |
15 30 |
00 00 |
00 |
00 |
00 |
00 |
00 |
00 |
00 |
15 60 |
| 21 | HerderS | 150 | 22 |
00 |
15 |
00 |
00 |
00 |
00 |
00 |
00 00 |
00 00 |
15 45 |
00 00 |
15 60 |
| 23 | quarterrican | 135 | 12 |
15 15 |
00 |
00 |
00 |
15 30 |
00 |
00 00 |
00 00 |
00 |
15 45 |
00 |
00 |
| 23 | ChrisRosenberg | 135 | 12 |
00 00 |
00 |
00 |
00 |
00 00 |
00 |
00 00 |
00 |
00 |
15 45 |
00 |
15 60 |
| 23 | FrostL | 135 | 12 |
15 15 |
00 |
15 30 |
00 |
00 |
00 00 |
00 |
00 |
00 |
15 45 |
00 |
00 00 |
| 26 | LuskT | 120 | 5 |
00 |
15 45 |
00 00 |
00 |
00 |
00 00 |
00 00 |
00 |
00 |
15 45 |
00 |
00 |
| 27 | PolinskyL | 86 | 1 |
00 |
00 |
00 |
00 00 |
00 |
00 00 |
00 |
15 71 |
00 |
00 00 |
00 |
00 00 |
This 1984 hit used the HARMONICA1 patch.
The E.PIANO1 patch was probably the most (over)used preset sound, heard in this hit from 1984.
Another instance of E.PIANO1, this time from 1985.
Another popular preset was the BASS1 patch, heard in this song from 1983.
This 1985 hit also used the BASS1 patch, along with the Fairlight CMI "syn vox" sound.
This instrumental hit from 1984 made heavy use of the MARIMBA patch.
This 1986 track, the first song on this artist's debut album (written to accompany a BBC documentary about ancient peoples), uses lots of DX-7 sounds, but most notably the TUB BELLS patch.
This song from 1986 uses one of the STRINGS presets to provide the staccato strings in its intro. The DX-7 was used throughout A Kind of Magic, the album from which this song comes.
The "trumpet" solo on this 1985 Cold-War-themed love song is actually a DX-7 BRASS patch.
Name the TV show whose theme song (by Mike Post) heard here was almost entirely realized on the DX-7, particularly with the E.PIANO1 patch.
The DX-7 was used extensively in the making of the album Cupid and Psyche 85, which spawned this hit (the band's only Top-40 hit stateside).
One of the DX-7's most vocal champions (who at one time had seven of them) was the musician/producer whose track "An Ending (Ascent)", realized on the DX-7, is excerpted here.