The DX7 underlying FM (Frequency Modulation) synthesis with its percussive and clear sounds is significant for many songs in the 1980s. The FM synthesis emulates piano-, bass- or bell-like sounds with more authenticity than those based on substractive synthesis (e. g. the analogue-based monophonic Minimoog). Although subtractive synthesis built the basis for almost all analog synthesizers during the 1970s, it did not offer the possibility to create more complex sound structures.

The DX7 indeed came up with a number of admirable sounds, was compact and lightweight, but also had some disadvantages. The programmability and editing of the DX7 seemed too complicated and user-unfriendly for non-specialized synthesists. Most users only referred to the factory presets, some did not even change them. Sound designers found a commercial niche in programming and selling sounds for the DX7.

Following the popularity of the DX7, other models like the TX 816 and the DX7 II were developed. They offered the possibility to stack different electric piano sounds to a full-sounding harmonic background, to be heard on many Whitney Houston productions.

DX7 with the original preset patch No. 11
Virtual Grand Piano
Fender Rhodes MK 1