You are absolutely right… I realise in the last 2 years I invested more of my time researching new gears instead of creating and manifesting my music. And my conclusion is to learn more deep how to modulate what I already have, and started to sell some of my gears…. Hope I am over with my G.A.S. You may listen to my track Light Blue, with my name you found it Tx again
It's not hard to do, when if you watch YT videos by the influencers, nearly every video is about the "gear". Most of them don't even play music, it's just a few riffs or notes as they go thru the functionality. That's why this guy is so good. He gets it.
crazy that you don't have a lot more subscribers. Some of the better synth-tube video essays out there. Finally not a full-of-it blowhard! You rule man. It's clear you're rich, but down to earth somehow =)
The main point I got out of this vid was that an instrument is to be understood and used as a tool, not as the main focus of the music you want to make. Please correct me if I’m wrong. Software based emulation and sound design definitely has its upsides and is constantly evolving which does make it a very interesting domain and field of research. Reaktor seems to have some nice wave shaping and possibilities that are impossible on an old piece of analog gear without any extra digital processing units. I remain skeptical about digital ownership and hate subscription based products, which is another thing I like about physical machines. You can also open them up if ever there’s anything not working as it should and learn more about them. In my case I’m still very much interested in gear, especially old and cheap stuff. Sounds and rhythms can be obtained by very rudimentary means so I’ve never seen the point in buying some horrendously expensive stuff to play a simple bass riff. Early Detroit techno and electronic uk musicians had a great mindset and made music and sounds with that they could get their hands on. Really amazing linear thinking. So in closing my message my advice would be to listen to old stuff, not just the new. Be eclectic and pick and choose what elements spike your interest. Make your obsessions clear in your music. And most importantly, think outside the box. With frustration and limitation comes innovation. Or this could just be a whole load of bullshit, cheers.
Yeah I absolutely agree with the idea of buying gear to trick yourself into thinking it'll make your music better through tone variety. As someone who is currently selling off a lot of gear it feels almost liberating to get rid of excess things, sometimes you wonder why you even bought those extra instruments in the first place. Following Marie kondo's idea of "if it doesn't spark joy get rid of it" It became surprisingly obvious what instruments I wanted to keep and what to get rid of.
you have great insights, im in a similar place with my modular now. the cv range incompatibilities, tuning oscillators, all that random quirk are just daunting as hell if you just want to play some music. sometimes it feels like its more for some physics enthusiasts and not for musicians. but I know the better times should come soon, i just need a break I think. what you said is true, the gear can tamper the creativity sometimes, and sometimes it can inspire
As an old school hip-hop beatmaker who's 90% analog, i struggle with this same question a lot. Nothing beats the tone of samples on an Akai s950, especially for punchy drums...but many people think just because you get a special vintage piece, it'll magically make you a better musician. Sadly, that's not how it works. Great and insightful video. Cheers.
Excellent topic. Excellent video. This is one of the most fascinating things about electronic music production. The creative motivation to take the extra steps is the key. Inspiration! (And looking forward to your take on that new BC synth)
I'm a hobbyist so my perception might be biased toward what I find fun. While I wholeheartedly agree expression is king, but exploring sound design is a big aspect of that for me. I agree that more gear isn't always better, so my approach has always been to ask whether a new piece of gear brings something new into the studio. If it's another synth it can't be a conventional analog poly because the Polybrute does that - and the difference between a polybrute and a moog just isn't enough to say they do something different. I got an ASM Hydrasynth because the poly aftertouch, release velocity sensitivity, and wave morphing actually were new, nothing in my gear did those. And I got into Eurorack because it's completely different from both of those, letting me explore wacky arrangements and see what works. But at the end of the day the reason this works well for me is that the sound design is part and parcel for expression in my head. I can't just buy a sound, it doesn't feel like *me*, even if what I make may or may not be in uncharted territory.
Thank you for your thoughts. This is one of the struggles trying to understand who’s watching my content to better serve them. For now, because the channels small, I’m all over the place but in the future, I might speak to folks more specifically in hobby space, exploring, experimenting space.
@@DUNGEONMUSICTHEATRE I've been enjoying your videos, for what it's worth. Food for creative thinking even if the approach I end up sharing in the comments is slightly different. 🙂
On point! Recently I was having honey moon with Korg ARP2600m and at some point realized, wtf, how do I turn on legato mode?!? No button. I freaked out, thinking how will be selling it, why/how did I manage to overlook lacking of such an important thing. Fortunately sooner found how (for KARP2600m lovers like me who do not read manual first: power on, hold and 6 times switch). Synth are nothing without expressiveness and movements. But I spent a time and had fun with 2600m at first just on bare fact that mixer and filter and such are Sliders and all together in one place. Just playing those with many fingers same time is enormous difference, not only about tone. Same goes to Buchla 208c. It’s about how you play it journey thru the tone. That’s what VSTs are lacking. Cheers!
Yep, hardware's bit advantage is that it invites you to be expressive by default with buttons and knobs. Software CAN do it, but it's got more friction. But of course, software makes things easier to print and loop and integrate in to a more polished production. Thanks for your thoughts!
Wow, I really appreciate this. It's been so hard for me to summon the energy to record music after reconfiguring my office, and just fighting the exhaustion from *gestures widely*. Digging deeper will always unearth magic.
I think this has always been the hallmark of all the great artists out there. I remember watching the Disclosure guy breaking down his track on Logic. He had no hardware (i think) just literally his laptop. But the session was immense, with everything, I mean everything having some kind of automation and little tweaks. One tweak is trivial but when you add up thousands of those little expressions, it adds up to be tremendous.
I have been getting into hardware recently because i just felt like i was missing something in what i make. expression i think was the center of that moreso than tone. how you physically interact with a thing and what things are available to tweak and change and use. I landed on getting a hydrasynth deluxe as my first big boy synth because of the options for modulation and expression. and that has really inspired me and made me feel more musical.
Good comments, Mr Dungeon .. yes, gliding, between notes .. is quite a useful thing. Right now, I'm looking into using MI Stages, to do this, .. still am learning .. and hopefully start aiming this technique at a Roland D-50, eventually. :)
As an old gear head I've now started reducing my compliment of hardware synths and FX. For a long time I held onto some vintage synths that had no modern software analogs. I'm now down to a, newer, ASM Hydrasynth, a Roland V-Synth XT and a Lexicon Vortex. I may sell the latter two. Modern software synths, sample libraries (e.g., Native Instruments and Spitfire Audio) and FX, which keep all audio in the digital domain, is now superior to hardware in my opinion. To compensate for the loss of beloved hardware I've filled 20 rack spaces with Eurorack modular equipment to satisfy my knob twiddling habit.
Great perspective on mutating tone. Going to rethink some patches. But I don't really use computer plug-ins. I'm really uncomfortable with how to even install them. I wish someone (ahem) would make a video for hardware enthusiasts to dive into plug-ins.
That's really interesting! I always assumed that folks who are into hardware moved on from software. But I didn't realize that some have always been into hardware and software versions were just not there thing! Thank you for sharing!
I do agree that GAS is a dangerous thing. I also agree that it can be somewhat of an overload when you have lots of new gear passing by. I would like to bring up the argument though that it is more about a workflow, not about how much gear or which gear. I mean somebody who really loves guitar, will most probably own several. As goes for electronic music heads. It is because we use all the instruments available as one instrument. And that’s maybe where your point of owning one synth makes sense. But then we can’t do all! Catch 22
Can you imagine? The “one” synth challenge? It would be probably one of the best things ever for some of us and we will be hated forever by every synth maker brand ;)
@@DUNGEONMUSICTHEATRE In my case, my modular setup is actually my one synth challenge. Somehow modular is the answer to the gear challenge, the big catch again is that you will end up with modules that are not right for every solution.
wow, amazing you also can play the flauto traverso :) - It used to be my 5th instrument .. until it got stolen :( - but I still got my keyboards, pianos, accordeons, drumsets, e-basses, guitars, ukuleles plus some more ;-)
If you don't have commercial pressures - I think use whatever makes you happy. Personally I prefer hardware as I find computer screens, mice, etc depressing, but others may enjoy them.... Really getting to know your hardware makes a big difference.
I did a survey back asking how many people are making music to make a living vs hobby and most said hobby. Granted the sample size was small since my channel is quite small. This is definitely something to look out for since the video messaging changes so much whether ur a pro or a hobbyist. Not going to worry too much about it until this channel is bigger but it is on my mind.
I'm purchasing a moog matriarch as my 1 hardware synthesizer.. it's a major purchase for me I plan on learning the thing in and out I don't need 20 peices of hardware.. but it's more of a tactile thing then anything else I'm sure I could get most of the sounds from a arp2600 or Diva I really think it's good to have atleast one peice of hardware to twist knobs and have all the buttons and knobs right in front of you
Another benefit I found was the more I learn one piece of gear, the more I can pick up and pick apart other synths “claim” to be radical but it’s just another shade of grey. :) nevertheless I still think there’s something to new hardware can can spark creativity! Thanks for sharing!
The Mother-32 has an immense sound. I've done plenty of back and forth from software and hardware and I gotta say, the hardware always has a little something extra. I think I hear it especially when I offset the VCO's and when they so slightly out of tune? I find the hardware versions always sound a bit more musical when it's detuned than the software versions. But they all have their pro's and cons. Thanks for sharing!
@@DUNGEONMUSICTHEATRE the semi mods definitely have something special (just haven't found the sweet spots). keep up the vids, you are funny as hell, 10x better than pay pig cuck shills infesting youtube.
Tone sells... but so does performability... but I don't buy any genre's great song can be successfully translated to any other genre... there's way more going on there when that happens... more than tone AND expression... CONCEPT.
Sure, but expression is more universal that you can apply on most any tone source. I think expression is more about effort and thought process than emphasis on gear acquisition Appreciate the comment tho!
The Thriller bass was done on an ARP 2600. Anthony Marinelli actually has a youtube channel where he programs the sound on the ARP 2600 from the actual album.
"It just feels out of balance sometimes" reminds me of a time I saw a guy in a convertible viper do an accidental 360 at his green light because he didn't understand or respect the power of the machine, and he probably didn't buy it for that, not really, it is a status item. It's why I don't respect anyone who buys a lexus or a moog, overpriced 'luxury' versions of normal things, because I learned long ago, it's NEVER the fucking car, it's always the driver... I will never understand emulation as a means of artistry, I know it's how children learn, but as an adult, I will disagree. Moreso than that, I will never understand fandom emulation. I see it alot, guy finally has a little extra cash and ends up with the stuff or better that the music that inspired him to delve down this road had. And what comes out, a locked smattering 'in the style of' incoherent sad mess that...doesn't have any wheels, it's not going anywhere, zero progression. I don't buy 'this is all he can do', I will never believe this guy doesn't have an artistic voice worthy of listening to(from a peer standpoint). He bought into a lie and is living it, the lie is that there are artists and fans, we could go down a long list of dichotomy pairings that make it seem like something, but I just don't care. Let me be even 'meaner', you will never write/produce/fart that album listening to someone else. I mean this video was inspired by you listening to a riff from a movie trailer? That's a recipe for mass hysteria because people are exponential not linear. That's fucking terrifying. Emulation is also the dreaded genre killer. Huh? One question, where is minimal techno? Fandom is just too weird to me because it has fine print on its dark side, 'I want to be special/rich/famous too'. This furthers the wealth inequality divide, if you buy in down here, you validate the con, because evidently you can't be happy/free/human until you attain that level? Think of how that limits your life, the decisions you make because you're not a 'real boy' yet. If you knew what some of them had to do to get there...but those secrets only come out when it's time to join. the solution: 1. On a regular basis, clear your mental palette, hit record and play. Listen to it 3 times(not in a row, jeez). The good will show itself, the bad will too. Each recording is a cobblestone in your path thru life, something to look back on and know where one has walked. 2. Try to understand the following two sentences: (#)Fat Cats Get Drunk At Ed's Bar (b)Bears Eat At Dad's Garbage Can First You will realize it's less about what key you are in because they are all connected, like we all are. 3. If you get fascinated by some famous person's thing and you pin down the technique, try to use that 'trick' in a new way because saying 'I can do that david copperfield dropshift progression under the bumptopped flat9' sounds stupid regardless what you are actually describing. The people that jargon applies to already know, bro so... 4. Gear isn't an investment. Let that go right now, it's why Moog can charge you 3 times what they are worth. If you were into paintball, is that an investment? Of course not, but...but...but..I'm gonna make it one day and(white noise/recordscratch) If that were true, the ratio of famous to fan would not in the numbers it is today, you bought an expensive lie. You can claim hobby expenses on your taxes, that number is important for a reason.
Hey appreciate your passion and i respect your feedback. I have to respectfully disagree on a few points however. Your solution point 1) you are literally “telling” people “how” to create. This works for you not for others 2) nothing wrong with fandom. Inspiration can come from anywhere. 3) gear is an investment to some including me, there’s nothing wrong with expecting ROI on thing you buy.
@@DUNGEONMUSICTHEATRE I love respectful disagreement, I truly believe that how social progress is made because it's less who's right or wrong(which is a con) and more about 'hey, you mean there are other crayons?'. Progress on in individual level always has a degree of leaving one's comfort zone, whether this is endeavouring towards something difficult of something new. To see something as telling someone what to do is usually how the recreationally outraged react or an aries, lol. My solution like a piece of cutlery was something to try that perpetuates an artists voice and allows some space for it. It isn't a secret that we have both a listener and player inside our brains. My solution bridges the gap and it doesn't require NOT making stupid techno you loved from 2010 or yet another fucking vangelis cover, it's additive, in addition to kinda thing. The fact I actually had to iterate that is...really weird to me... This is YT, and most of it pushes emulation, this is simply a common path that requires using populism to get views. I mean, the fact that improvisational music such as jazz has a book of standards? Probably one of the funniest jokes ever made. I will respectfully disagree about fandom, it's a mental illness wrought from consumerism out of control. Every person that is alive is an artist, and that artist has a voice that is both unique and valid. This voice is downplayed if not erased completely by walking thru someone else's work and it separates people, which I will never abide. On the ROI, sure I can see that, but the inside of a bottle is slippery once you start drinking even if only recreationally at first, but all of this really reduces down to, know thyself. If you do that, you're less likely to fall into easily avoidable situations, unless it's meant/fated to be that way, which is a philosophical topic for another day. :)
I sold most of my gear a few years back. I have 1 poly synth (peak), one virtual synth ultranova, soundcard and an MPC. No point having too much choice when there are a bazillion VSTs and sample options out there. Back when I had an Atari and 950 I would have given anything for all this choice
Super envious of your Deckards too. I would die. Almost bought a diy kit but didn’t hear good things on doing that. Just cherish your Deckards HARD for me 🫶
You're missing the point of hardware. For me atleast I don't give a damn about "the analog sound" I use analog hardware because its fun. I much rather make music using knobs and sliders than a mouse and keyboard. 😉
Hey appreciate the comment. The point wasn’t about hardware vs software. Point was just be expressive whether it’s hardware or software. Was I not clear? I’ll do better next time :)
Totally disagree, there have been scientific researches which has proven that what the audience remember is the unique timber/tone of the maine track sequence and the catchy sequence not how it was played, so tone is the most important thing but you have to think out of the box and bring something unheard to the table, Jupiter 8 is far from being unique and you will not find any unique tone in the JP8 no matter how hard you try, it sounds pleasing and warm but it is a cliché heard million times in many tracks. Tho probably the most easy way to make unique tones are field recordings synthesised on the compiute or samplers
Wait can u cite your source? Also I get that tone and tune is intertwined but I have to disagree that some how tone/timbre is greater than the tune. I still hold that tune is more important that tone (from a composer/writer’s perspective)
So Insightful ........
Love the video and love the cunundruns you bring forth
Its very psychological and Sentient
Much appreciate it! :) Thank you!
You are absolutely right…
I realise in the last 2 years I invested more of my time researching new gears instead of creating and manifesting my music.
And my conclusion is to learn more deep how to modulate what I already have, and started to sell some of my gears…. Hope I am over with my G.A.S.
You may listen to my track Light Blue, with my name you found it
Tx again
It's not hard to do, when if you watch YT videos by the influencers, nearly every video is about the "gear". Most of them don't even play music, it's just a few riffs or notes as they go thru the functionality. That's why this guy is so good. He gets it.
crazy that you don't have a lot more subscribers. Some of the better synth-tube video essays out there. Finally not a full-of-it blowhard! You rule man. It's clear you're rich, but down to earth somehow =)
Don’t need a lot of subs, just high quality folks like you! Thank you for the kind words! :)
Really connecting with your channel lately. Keep it up man
this is not just good, but downright essential for both the quality of our music-making, & our mental health. so... once again... thank you!!
The main point I got out of this vid was that an instrument is to be understood and used as a tool, not as the main focus of the music you want to make.
Please correct me if I’m wrong.
Software based emulation and sound design definitely has its upsides and is constantly evolving which does make it a very interesting domain and field of research.
Reaktor seems to have some nice wave shaping and possibilities that are impossible on an old piece of analog gear without any extra digital processing units.
I remain skeptical about digital ownership and hate subscription based products, which is another thing I like about physical machines. You can also open them up if ever there’s anything not working as it should and learn more about them.
In my case I’m still very much interested in gear, especially old and cheap stuff.
Sounds and rhythms can be obtained by very rudimentary means so I’ve never seen the point in buying some horrendously expensive stuff to play a simple bass riff.
Early Detroit techno and electronic uk musicians had a great mindset and made music and sounds with that they could get their hands on. Really amazing linear thinking.
So in closing my message my advice would be to listen to old stuff, not just the new. Be eclectic and pick and choose what elements spike your interest.
Make your obsessions clear in your music.
And most importantly, think outside the box. With frustration and limitation comes innovation.
Or this could just be a whole load of bullshit, cheers.
Appreciate the thoughtful comments! It’s golden sir!
Yeah I absolutely agree with the idea of buying gear to trick yourself into thinking it'll make your music better through tone variety. As someone who is currently selling off a lot of gear it feels almost liberating to get rid of excess things, sometimes you wonder why you even bought those extra instruments in the first place. Following Marie kondo's idea of "if it doesn't spark joy get rid of it" It became surprisingly obvious what instruments I wanted to keep and what to get rid of.
you have great insights, im in a similar place with my modular now. the cv range incompatibilities, tuning oscillators, all that random quirk are just daunting as hell if you just want to play some music. sometimes it feels like its more for some physics enthusiasts and not for musicians. but I know the better times should come soon, i just need a break I think. what you said is true, the gear can tamper the creativity sometimes, and sometimes it can inspire
As an old school hip-hop beatmaker who's 90% analog, i struggle with this same question a lot. Nothing beats the tone of samples on an Akai s950, especially for punchy drums...but many people think just because you get a special vintage piece, it'll magically make you a better musician. Sadly, that's not how it works.
Great and insightful video. Cheers.
Excellent topic. Excellent video. This is one of the most fascinating things about electronic music production. The creative motivation to take the extra steps is the key. Inspiration! (And looking forward to your take on that new BC synth)
We’ll put! Thank you for the feedback!
I'm a hobbyist so my perception might be biased toward what I find fun. While I wholeheartedly agree expression is king, but exploring sound design is a big aspect of that for me. I agree that more gear isn't always better, so my approach has always been to ask whether a new piece of gear brings something new into the studio. If it's another synth it can't be a conventional analog poly because the Polybrute does that - and the difference between a polybrute and a moog just isn't enough to say they do something different. I got an ASM Hydrasynth because the poly aftertouch, release velocity sensitivity, and wave morphing actually were new, nothing in my gear did those. And I got into Eurorack because it's completely different from both of those, letting me explore wacky arrangements and see what works.
But at the end of the day the reason this works well for me is that the sound design is part and parcel for expression in my head. I can't just buy a sound, it doesn't feel like *me*, even if what I make may or may not be in uncharted territory.
Thank you for your thoughts. This is one of the struggles trying to understand who’s watching my content to better serve them. For now, because the channels small, I’m all over the place but in the future, I might speak to folks more specifically in hobby space, exploring, experimenting space.
@@DUNGEONMUSICTHEATRE I've been enjoying your videos, for what it's worth. Food for creative thinking even if the approach I end up sharing in the comments is slightly different. 🙂
On point! Recently I was having honey moon with Korg ARP2600m and at some point realized, wtf, how do I turn on legato mode?!? No button. I freaked out, thinking how will be selling it, why/how did I manage to overlook lacking of such an important thing. Fortunately sooner found how (for KARP2600m lovers like me who do not read manual first: power on, hold and 6 times switch).
Synth are nothing without expressiveness and movements. But I spent a time and had fun with 2600m at first just on bare fact that mixer and filter and such are Sliders and all together in one place. Just playing those with many fingers same time is enormous difference, not only about tone. Same goes to Buchla 208c. It’s about how you play it journey thru the tone. That’s what VSTs are lacking. Cheers!
Yep, hardware's bit advantage is that it invites you to be expressive by default with buttons and knobs. Software CAN do it, but it's got more friction. But of course, software makes things easier to print and loop and integrate in to a more polished production. Thanks for your thoughts!
Wow, I really appreciate this. It's been so hard for me to summon the energy to record music after reconfiguring my office, and just fighting the exhaustion from *gestures widely*. Digging deeper will always unearth magic.
Thank you for this honest and vulnerable video. Right at me!
Thank you for sharing! :)
Very true, I have been thinking the same lately also. How to perform electronic music with “feel” the same way a live guitarist or pianist would.
I think this has always been the hallmark of all the great artists out there. I remember watching the Disclosure guy breaking down his track on Logic. He had no hardware (i think) just literally his laptop. But the session was immense, with everything, I mean everything having some kind of automation and little tweaks. One tweak is trivial but when you add up thousands of those little expressions, it adds up to be tremendous.
I have been getting into hardware recently because i just felt like i was missing something in what i make. expression i think was the center of that moreso than tone. how you physically interact with a thing and what things are available to tweak and change and use. I landed on getting a hydrasynth deluxe as my first big boy synth because of the options for modulation and expression. and that has really inspired me and made me feel more musical.
Yep! Hardware’s biggest advantage is that it allows you to be more expressive with less friction
Good comments, Mr Dungeon .. yes, gliding, between notes .. is quite a useful thing. Right now, I'm looking into using MI Stages, to do this, .. still am learning .. and hopefully start aiming this technique at a Roland D-50, eventually. :)
As an old gear head I've now started reducing my compliment of hardware synths and FX. For a long time I held onto some vintage synths that had no modern software analogs. I'm now down to a, newer, ASM Hydrasynth, a Roland V-Synth XT and a Lexicon Vortex. I may sell the latter two. Modern software synths, sample libraries (e.g., Native Instruments and Spitfire Audio) and FX, which keep all audio in the digital domain, is now superior to hardware in my opinion. To compensate for the loss of beloved hardware I've filled 20 rack spaces with Eurorack modular equipment to satisfy my knob twiddling habit.
Great perspective on mutating tone. Going to rethink some patches. But I don't really use computer plug-ins. I'm really uncomfortable with how to even install them. I wish someone (ahem) would make a video for hardware enthusiasts to dive into plug-ins.
That's really interesting! I always assumed that folks who are into hardware moved on from software. But I didn't realize that some have always been into hardware and software versions were just not there thing! Thank you for sharing!
Love your approach
Love the ideas here! Respect 🙏
I do agree that GAS is a dangerous thing. I also agree that it can be somewhat of an overload when you have lots of new gear passing by. I would like to bring up the argument though that it is more about a workflow, not about how much gear or which gear. I mean somebody who really loves guitar, will most probably own several. As goes for electronic music heads. It is because we use all the instruments available as one instrument. And that’s maybe where your point of owning one synth makes sense. But then we can’t do all! Catch 22
Can you imagine? The “one” synth challenge? It would be probably one of the best things ever for some of us and we will be hated forever by every synth maker brand ;)
@@DUNGEONMUSICTHEATRE In my case, my modular setup is actually my one synth challenge. Somehow modular is the answer to the gear challenge, the big catch again is that you will end up with modules that are not right for every solution.
wow, amazing you also can play the flauto traverso :) - It used to be my 5th instrument .. until it got stolen :( - but I still got my keyboards, pianos, accordeons, drumsets, e-basses, guitars, ukuleles plus some more ;-)
If you don't have commercial pressures - I think use whatever makes you happy. Personally I prefer hardware as I find computer screens, mice, etc depressing, but others may enjoy them.... Really getting to know your hardware makes a big difference.
I did a survey back asking how many people are making music to make a living vs hobby and most said hobby. Granted the sample size was small since my channel is quite small. This is definitely something to look out for since the video messaging changes so much whether ur a pro or a hobbyist. Not going to worry too much about it until this channel is bigger but it is on my mind.
@@DUNGEONMUSICTHEATRE Good luck with your channel - excellent:)
I'm purchasing a moog matriarch as my 1 hardware synthesizer.. it's a major purchase for me I plan on learning the thing in and out I don't need 20 peices of hardware.. but it's more of a tactile thing then anything else I'm sure I could get most of the sounds from a arp2600 or Diva I really think it's good to have atleast one peice of hardware to twist knobs and have all the buttons and knobs right in front of you
Another benefit I found was the more I learn one piece of gear, the more I can pick up and pick apart other synths “claim” to be radical but it’s just another shade of grey. :) nevertheless I still think there’s something to new hardware can can spark creativity! Thanks for sharing!
This is a great video! Thanks!!!
mini v3 slaps harder than my mother 32, but i might just need to learn some patches xd
The Mother-32 has an immense sound. I've done plenty of back and forth from software and hardware and I gotta say, the hardware always has a little something extra. I think I hear it especially when I offset the VCO's and when they so slightly out of tune? I find the hardware versions always sound a bit more musical when it's detuned than the software versions. But they all have their pro's and cons. Thanks for sharing!
@@DUNGEONMUSICTHEATRE the semi mods definitely have something special (just haven't found the sweet spots). keep up the vids, you are funny as hell, 10x better than pay pig cuck shills infesting youtube.
What a great topic! 👏🏼
Tone sells... but so does performability... but I don't buy any genre's great song can be successfully translated to any other genre... there's way more going on there when that happens... more than tone AND expression... CONCEPT.
It was a generalization and I respect what you're saying. Appreciate the perspective!
@@DUNGEONMUSICTHEATRE I really LOVE your thoughtfulness and critical thinking - you hold a very unique position on GAS.
lol, it shifts the gear from tone generation to expressive generation. The dollars just go to a different type of gear.
Sure, but expression is more universal that you can apply on most any tone source. I think expression is more about effort and thought process than emphasis on gear acquisition Appreciate the comment tho!
The Thriller bass was done on an ARP 2600. Anthony Marinelli actually has a youtube channel where he programs the sound on the ARP 2600 from the actual album.
Got it!
At 8:40, I meant to say "Billy Jean!" not "Thriller. Thanks for the correction!
"It just feels out of balance sometimes" reminds me of a time I saw a guy in a convertible viper do an accidental 360 at his green light because he didn't understand or respect the power of the machine, and he probably didn't buy it for that, not really, it is a status item. It's why I don't respect anyone who buys a lexus or a moog, overpriced 'luxury' versions of normal things, because I learned long ago, it's NEVER the fucking car, it's always the driver...
I will never understand emulation as a means of artistry, I know it's how children learn, but as an adult, I will disagree.
Moreso than that, I will never understand fandom emulation. I see it alot, guy finally has a little extra cash and ends up with the stuff or better that the music that inspired him to delve down this road had. And what comes out, a locked smattering 'in the style of' incoherent sad mess that...doesn't have any wheels, it's not going anywhere, zero progression. I don't buy 'this is all he can do', I will never believe this guy doesn't have an artistic voice worthy of listening to(from a peer standpoint). He bought into a lie and is living it, the lie is that there are artists and fans, we could go down a long list of dichotomy pairings that make it seem like something, but I just don't care.
Let me be even 'meaner', you will never write/produce/fart that album listening to someone else. I mean this video was inspired by you listening to a riff from a movie trailer? That's a recipe for mass hysteria because people are exponential not linear. That's fucking terrifying. Emulation is also the dreaded genre killer. Huh? One question, where is minimal techno?
Fandom is just too weird to me because it has fine print on its dark side, 'I want to be special/rich/famous too'. This furthers the wealth inequality divide, if you buy in down here, you validate the con, because evidently you can't be happy/free/human until you attain that level? Think of how that limits your life, the decisions you make because you're not a 'real boy' yet. If you knew what some of them had to do to get there...but those secrets only come out when it's time to join.
the solution:
1. On a regular basis, clear your mental palette, hit record and play. Listen to it 3 times(not in a row, jeez). The good will show itself, the bad will too. Each recording is a cobblestone in your path thru life, something to look back on and know where one has walked.
2. Try to understand the following two sentences:
(#)Fat Cats Get Drunk At Ed's Bar
(b)Bears Eat At Dad's Garbage Can First
You will realize it's less about what key you are in because they are all connected, like we all are.
3. If you get fascinated by some famous person's thing and you pin down the technique, try to use that 'trick' in a new way because saying 'I can do that david copperfield dropshift progression under the bumptopped flat9' sounds stupid regardless what you are actually describing. The people that jargon applies to already know, bro so...
4. Gear isn't an investment. Let that go right now, it's why Moog can charge you 3 times what they are worth. If you were into paintball, is that an investment? Of course not, but...but...but..I'm gonna make it one day and(white noise/recordscratch)
If that were true, the ratio of famous to fan would not in the numbers it is today, you bought an expensive lie. You can claim hobby expenses on your taxes, that number is important for a reason.
Hey appreciate your passion and i respect your feedback. I have to respectfully disagree on a few points however. Your solution point 1) you are literally “telling” people “how” to create. This works for you not for others 2) nothing wrong with fandom. Inspiration can come from anywhere. 3) gear is an investment to some including me, there’s nothing wrong with expecting ROI on thing you buy.
@@DUNGEONMUSICTHEATRE I love respectful disagreement, I truly believe that how social progress is made because it's less who's right or wrong(which is a con) and more about 'hey, you mean there are other crayons?'. Progress on in individual level always has a degree of leaving one's comfort zone, whether this is endeavouring towards something difficult of something new. To see something as telling someone what to do is usually how the recreationally outraged react or an aries, lol. My solution like a piece of cutlery was something to try that perpetuates an artists voice and allows some space for it. It isn't a secret that we have both a listener and player inside our brains. My solution bridges the gap and it doesn't require NOT making stupid techno you loved from 2010 or yet another fucking vangelis cover, it's additive, in addition to kinda thing. The fact I actually had to iterate that is...really weird to me...
This is YT, and most of it pushes emulation, this is simply a common path that requires using populism to get views. I mean, the fact that improvisational music such as jazz has a book of standards? Probably one of the funniest jokes ever made.
I will respectfully disagree about fandom, it's a mental illness wrought from consumerism out of control. Every person that is alive is an artist, and that artist has a voice that is both unique and valid. This voice is downplayed if not erased completely by walking thru someone else's work and it separates people, which I will never abide.
On the ROI, sure I can see that, but the inside of a bottle is slippery once you start drinking even if only recreationally at first, but all of this really reduces down to, know thyself. If you do that, you're less likely to fall into easily avoidable situations, unless it's meant/fated to be that way, which is a philosophical topic for another day. :)
I sold most of my gear a few years back. I have 1 poly synth (peak), one virtual synth ultranova, soundcard and an MPC. No point having too much choice when there are a bazillion VSTs and sample options out there. Back when I had an Atari and 950 I would have given anything for all this choice
Wish I seen this vid before I dropped two grand this morning.
hahaha! what did you get?
Subsequent37 Moog and CBA MOOD mkII 🤧🤧🤧
Super envious of your Deckards too. I would die. Almost bought a diy kit but didn’t hear good things on doing that. Just cherish your Deckards HARD for me 🫶
@@gaigeevans7699 bah! Don’t be envious. Just means my credit card bill is higher than yours lol 😂
You're missing the point of hardware. For me atleast I don't give a damn about "the analog sound" I use analog hardware because its fun. I much rather make music using knobs and sliders than a mouse and keyboard. 😉
Hey appreciate the comment. The point wasn’t about hardware vs software. Point was just be expressive whether it’s hardware or software. Was I not clear? I’ll do better next time :)
@@DUNGEONMUSICTHEATRE Well yeah but the title is just a little suggestive 😉
Totally disagree, there have been scientific researches which has proven that what the audience remember is the unique timber/tone of the maine track sequence and the catchy sequence not how it was played, so tone is the most important thing but you have to think out of the box and bring something unheard to the table, Jupiter 8 is far from being unique and you will not find any unique tone in the JP8 no matter how hard you try, it sounds pleasing and warm but it is a cliché heard million times in many tracks.
Tho probably the most easy way to make unique tones are field recordings synthesised on the compiute or samplers
Wait can u cite your source? Also I get that tone and tune is intertwined but I have to disagree that some how tone/timbre is greater than the tune. I still hold that tune is more important that tone (from a composer/writer’s perspective)
💙coolthanks for sharing🙃