Emax

That's what killed the DX7, for example:  it was new and everything  
sounded "sweet" -- all presets.  Then it was all you heard and you  
never wanted to hear it again.  But if you listen to what Brian Eno  
did with his DX7 on the "Shutov Assembly" or Alan Splet's use of it in  
the film "Dune" for effects,
then it takes on an entirely different meaning.  Brian worked for  
years and years on his library of patches alone for the DX7.  Yes, the  
Juno was just like that too!  :-)

On 22 Jul 2009, at 06:44, el macaco wrote:

>  it's not a Juno where it is all sweet spot.




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