You all will know my motives much better after reading Bill Marshall's own informative article about the issue:

Twenty Five Years Later… (in case you don't have Word program, you could use wordpad)

First, let me begin with my own impression:

Do you rememeber when Yamaha DX-7 came the first time? At the time it was totally new thing, something that you never heard before and there wasn't anything else to compare it's features, so basically you had to hear and see the device yourself before you could understand, experience and see the potential of it.

Could you possibly imagine what the world would have been if the DX7 would have ended up as a flop product that no-one could understand? What if only handful DX7 were produced and then disappeared from the public? Perhaps in such world we would have seen much wider and more perfect analog instruments, with all the features finished to their maximum potential. Perhaps Yamaha would have brought their CS-80 to next level and continued their incredible legacy of ultimate player's and performer's keyboard that acts like real instrument. Even though I'm not the correct generation, but I think, DX7 as a flop product actually could have happened. No-one knew how to program it and there was no much of live controls either. What if Yamaha wasn't able to provide their large palette of presets and users were left with basic "Init" waveforms? Would that been enough make it finito?

I can imagine that, because I have already "seen it". I have seen that world in form of Zyklus MPS-1 - Midi Performance System. At the time, what DX7 was for synthesizers, MPS-1 was for sequencers. MPS-1 represented entirely new way of thinking... a totally new approach sequencing and making music. People couldn't understand it. Even today with all these groove boxes and other things, people can't understand what MPS-1 is capable, mainly because there never were anything else to compare. I can only imagine what the world would have been if MPS-1 could have made even moderate level of success. As Bill said, he expected someone else to continue his visions and innovations but the industry took totally different direction and totally abandoned these all. Even today, the modern industry still makes the usual safe product that will sell for sure, a new reverb or new compressor... or another "studio-in-the-box" gadget.

The problem is that even in this very modern world where technological progression is unbelieveable when comparing to 1988, still we don't see products that can act as a tool for encouraging the actual creative process of creating music. Everything is only about recording, editing and composing music in traditional way but nothing to encourage you to experiment and try new things.

If MPS-1 is still alien in this highly advanced modern world, just imagine it in 1988. Even today people expect easy "analogies". When it comes to sequencers, people still expect them to work like traditional multitrack tape recorders. I surely will have difficulties to describe the potential of MPS-1 without having chances to actually show the process how it works. The situation reminds me of John Cage and his methods. You need to show people that music performance could include weird things like pouring water to bathtub... any sound could be music too.