From my perspective it was exactly the opposite. FM synths were great because they sounded like synths. Some of the most memorable game soundtracks of the era were that precisely because they had such a characteristic sound to them. When high-quality sampled sounds became the norm, there was nothing unique about game music any more, it just sounded like any other soundtrack. Might as well just play a CD at that point.
The MT-32, from what I understand, was based on the D-50 series, which means in theory it should have had access to unique patches like DigitalNativeDance. The problem with General MIDI is that it limited patches to the lowest common denominator, so even if a ROMpler had the potential to make interesting sounds, composers would stick to the generic ones for compatibility. I think it's no surprise the Sound Blaster (with CD-ROM interface) won over General MIDI in the end, because that way composers could record on professional equipment and everyone would hear it the same. It's too bad that it also ushered in the era of "game music" just being orchestral scores, pop music etc.
The MT-32, from what I understand, was based on the D-50 series, which means in theory it should have had access to unique patches like DigitalNativeDance. The problem with General MIDI is that it limited patches to the lowest common denominator, so even if a ROMpler had the potential to make interesting sounds, composers would stick to the generic ones for compatibility. I think it's no surprise the Sound Blaster (with CD-ROM interface) won over General MIDI in the end, because that way composers could record on professional equipment and everyone would hear it the same. It's too bad that it also ushered in the era of "game music" just being orchestral scores, pop music etc.