The guy dismissive about the clones isn't taking into consideration that the masses haven't necessarily had access to these sounds in hardware form, ever. The clones are a stage of the refinement, like any new technology, where prices decrease and products become more attainable to the everyman. Inequality extends itself to techno.
iamgolum yeah, he works for an electronics company. He’s not thinking about the music we’ve yet to hear from the guy who couldn’t afford a Moog before. He’s thinking about innovation that will sell more units.
We’re in no shortage of original equipment. We are in shortage of artistic people with appropriate attention span to get down with an instrument and make art. The future of music after all has always been determined by artists using equipment frequently the “wrong” way. Of course you need the Leo Fenders and Bob Moogs but at the end of the day its the Hendrix’s and Kraftwerks that carry the torch of music forward.
Very cool piece. PSA kids - as a suburban dad getting into modular.... That’ll probably be the death of it. I also killed the handle bar mustache. Target t shirts with modular synths on them for sale at Target in 2020.
Its only suburban dads getting into modular, they have the disposable income for it. Most kids (people under 30) are using hacked versions of fruityloops, ableton and any touring artists have already learned what a massive pain in the ass transporting a moduler synth on the road is. Kids outside of the US/Western Europe/Asia cannot afford a modular synth but everyone can get their hands on software. Sample packs also fill the void and make these sounds accessible. Ironically Aphex Twin made a lot of the sounds on his first albums with discarded and forgotten synths. It was the same with roland drum machines.
The Linnstrument was one of the first controllers that had me thinking that we could take the expressiveness of acoustic instruments into the electronic realm. Clever fellow, that Roger Linn.
The revolution will happen when all this tecnology can be consumed for all over the world, especially Africa and Latin America that have an amazing and rich cultural heritage but wick currency. Now, even the cheaper modular synths are a fortune for a normal (middle class) brazillian like me. Electronic and digital music needs cultural clashes to evolve from pure tecnology to a mass and universal form of expression.
To be honest, the eye-watering cost of modular is prohibitive for people everywhere. I’ve a well paid job in the UK. I started out with some modular but after a while (£2000+!) I had to give myself a talking to, stopped, and sold it all. It was a sort of compulsive, consumptive, madness. Felt a bit yucky in the end. Weird. I have had more pleasure from Fugue Machine in my iPad.
One of simple and rough things I've learned about creation of electronic music: those who have enough money don't know what to do with the gear and it then just laying dead on their shelves. While others who live with music in their hearts and can literally explode with it using the groovebox or couple of keyboards, they usually don't have a spare dollar for a coffee or beer...
Yep. Live music is kinda not really super popular. Maybe live electronic will bring it back but many people dont truly appreciate it so Theres a reason why software will own the future i think. Hardware is nice for workflow but software is too easy
For me, it'll become more about MUSIC MAKING, (something not very present or important in the subculture now)... I also agree with haptics feedback rich controllers & displays as mentioned by one of the interviewees. I also for-see completely fully programmable modular & hybrid systems [both analog/digital], with full digitally controlled analog pots/motorized sliders/recallable switches, as well as robotic real time control of them elements (including patch routing connectivity), ...my two cents...
Yes, I would agree that actually creating, producing and releasing music is going to have to become more important. Right now I see more demos or jams than actual pieces of music. I myself am guilty of it too. it's classic GAS!😂
We want instruments so sensitive that it can express our every exhale, finger wobble or any of the things a violin, a guitar or any drum can do. Period.
There are the C15, the continuum, the new Osmose, etc... going in this direction. Yes it is a new way for the instruments, going above the limitations of the MIDI 1.0. The Osmose fits with keyboard playing, and is attracting several musicians.
"In committing to artistic growth, you have to refine your skills to support your instincts." The future of electronic music is in the interface and the ability to develop something which people can express a wider and wider range of feelings and nuance--whether that's sequencers, synths, or effects, or networked modules. It's about the continuation of the work of people like Todd Machover, whose hyperinstruments took "a minute to learn, a lifetime to master".
I've been messing around with music tech since the mid 80's. There's some outstanding music being made at the end of another decade that's for sure. A part of me does wonder if there can be anything truly original and unlike anything we've ever heard before as we enter the 2020's though? I think as novel technology became accessible to the masses, like samplers at the end of the 80's, then this kick started whole new genres like Jungle/D&B. Can there ever be another period where people go WTF is THAT music? Or have we hit some kind of sonic limit where everything that sound can do has been done? I've always tried to keep informed and keep my ears peeled for new things, so that I'm not just listening to the records from when I was younger.
I feel exacty the same. I have been messing about with samplers and sequencers since the late 80's. Cubase on an Atari ST and Akai samplers to start with and now have gone back to basics with analog gear and an Akai Force and maybe moving into the Eurorack setup..I feel we may have met that plateau where what else would blow us away and sound so fresh and exciting like it used too, for me going back to the very early rave days and those classic piano riffs then moving on to tracks like 'Salt water' and Chicane and 'Energy 52 Cafe Del Mar' . Today I can't really tell the diffrence from a tech house track made 12 years ago compared to a new release today of the same genre. When the dubstep arrived that excited me for a while but I think the genre faded fairly fast.. I still am hoping and waiting for the fresh new sound to hit me again. Or maybe I'm just old and haven't moved with the times.
@@FrankieWildeDJ It's not an age thing as a lot of young people are attracted by classic analog sounds. Maybe it's to easy nowadays so that it is easier to use sounds which comes with the synths or sample banks instead of programming sounds from scratch. There will be always innovation but the steps are much smaller nowadays and if something new pops up it takes years until people get used to it.
@@ElectronicBeatsTV Very true. I must admit I am now at my most creative and enjoying my production more than ever now I have stepped away from the pc completely.
It will be variations on a theme, but as with cooking you can still come up with a new dish using similar ingredients. It will never be a new discovery like in the beginning. Less is more in this game sometimes.
....depends on whether you're creating music or involved in sound synthesis. They do overlap. From my point of view the main elements of music are melody and expressing a mood or feeling and this can be a very broad canvas to sketch on. The paint strokes become as important as the spaces - in fact one cannot exist without the other. Ultimately it's a personal experience that sometimes ends up affecting other people - and in different ways. Electronic based music does create its own canvas - extends it, changes the brushes, the paint and can create wonderful audio illusions....
Fascinating. I do think that the future of electronic musical instruments is the future of computers. PC's - as a generic name for any portable computer, not some specific brand - can be musical instruments, but are not designed with that intention. To imagine analog gear with dedicated CPU's, RAM and whatnot is something that just blows my mind.
Great video and feels like a real positive time to be alive... Really agreeing with the interface being the key to expression.. really excited about the future thanks for making this awesome video
Being a DJ for quite some time, I've always wanted to get into producing but was always put off by making music inside the box and the steep prices for analog gear. Behringer made it possible for me with their adaptions of the 808, 101 and soon to come 303. I totally feel Mark Verbos for saying something like that, because he and his rather small comany have to share the same market with a giant like Behringer... Nontheless it's great what Behringer does right now to get more people into producing electronic music.
@@MrJemabaris totally agree! I would have never spent the money on a tb303. not because I don't want to, just because I couldn't afford it. a couple of days ago my behringer td3 finally arrived and I would say it sounds amazing! I know people say its not the same and it doesn't sound exactly like the original. but honestly.. who cares? first of all it doesn't need to be exactly the same sound to sound good and I would say, when a sequence is played in a song where lots of other sounds are being played as well, most people couldn't tell which on is which. So fuck it, Behringer is doing the right thing
@@ElectronicBeatsTV very informative video indeed. Was equally captivated with the selection of the background tracks as well.. any chance you could share the playlist with us? Thanks!
As a first generation synth composer (started 1970's/80's, currently writing music under PRO: BMI, Inc) I'm happy that companies are making modular driven synthesizers and synthesizers modules as I like to write 1980's new wave and also ambient genres of music. I think BEHRINGER with it's affordable clones like the "Crave" is great because it provides that great analog sound, sequencer and real time control and feel to people that have never had a real analog monophonic synthesizer. Same as Arturia when they made the Microbrute, analog mono synth, but a bit unique sounding. In the end, if you really want to evolve synthesizers, make hybrids as all the best into one. Or do it the "old school" way, and layer them in production to get a unique sound that is your own. - "So says Mr.Tom... and so it was written..."
a very exciting but also important topic for electronic music. I look forward to creating new exciting sounds with new innovations in the future. thanks for the great video and raising awareness of an important topic ! Greetings
I think going forward, the key driving paradigm will be music performance vs recording. There’s no financial incentive or reason for 99.9% of the music makers to record or distribute music. But live performance (even streamed) is where it’s going to be at. Hand in hand with that the next revolution will come from performance interfaces. Being tied to a keyboard paradigm is silly. Roland’s iArpeggio in the new Jup is a great start. Scale/mode/chord aware pads/triggers etc. with a focus on expressivity. My $.02
One of the best video's about music production i've seen in a long time. However, speaking about sounds and new technology. I don't know if it really matters, it's all about the emotion that's passed on and can be felt in songs, not just the techniques. So who cares if there aren't any big new musical inventions nowadays you get alot of great instruments for a low price, these are good times
@@MarcadamiaNut start with something like a korg esx-1 and work your way up throughout the years. It's a long way. I quit smoking to buy synths, that worked out pretty well. Like Eric says, just prioritize. Don't get that expensive phone, get a cheap one and buy that synth you want. or just save 50euros per month, thats 600 a year for instance. Stuff like that. Sell everything you don't need and buy something you will use. Second hand market is a good starting point & gets you lots of experience, you don't have to buy everything new.
@@eleven9286 I guess I'm not as smart as you, so it wasn't so apparent to me until it was pointed out in this video. The framing of an 'obvious' yet overlooked phenomenon in a clever way is, in my opinion, brilliant.
Nice documentary...I'm a bass player, songwriter, composer, a traveler into the depths of audio ocean of adventures...in other words, I don't have a band and I experiment with sounds by myself in my basement :))) My two cents on this very interesting topic: 1) No matter how super democratic and affordable (playing and ) recording had become, there are still limitations. Before say couple of decades main limitation was the technical ability to play an instrument. Now, the limitation is the ability to code, connect, wire your gear....still a technical one :) Still not as immediate or intimate as let say playing a guitar... 2) The purpose of sound creating for me always remains how to fit this sound best into a song, or another piece, rather than just endlessly sculpting that very sound... In no way I intend to minimize the efforts and the creativity of all those many good people building new machines, opening new sound dimensions for us to explore. And here my question: what do you think is the market cap of electronic music production tools worldwide ? Is there even an idea how many people buy new gear annually ? Thanks ! Subscribed !
Excellent. I feel all of this trying to design my first module for over two years now. It's got to land in a place that's actually useful for musicians, and that process takes a lot of time.
5 лет назад+1
We are truly in the golden age of the Synthesizer! And I couldn't happen to be here, and be a part of it!
In the video and comments section, everybody is carefully saying what everybody has been thinking for a very long time. Where is the music? Of course there will always be good music being produced. Music is, by definition (generally) good. Notwithstanding your own personal tastes. That’s not the point. Music has not had a significant cultural impact for quite awhile. Why is that? Well, let’s stick with the realm of electronic music here. My observation is that the culture of the synth industry and people who buy this type of music gear is no different than that culture that drives iPhones, laptops, smart TVs etc.. We position ourselves as consumers. So we are never happy ( not analog/digital enough, not enough octaves, midi won’t run over here, can’t do this, can’t do that ) . The focus is on “innovation” and “progress” which really just is a demand for more products. Find a synth jam on RUclips and I will show you that we don’t demand the same thing from ourselves. Impressive technically but not significant in the least. Although the recent spate of affordable gear has benefited people like me, it has not benefited music culture at all. Just go to gearslutz forum or reddit and the endless debate on gear value, analog/ digital, pro vs toy, doesn’t give me the impression that there’s a lot of artistry happening. The debates are not artistic or cultural anymore. What is happening in the electronic music world is just a microcosm of what is generally happening around the world. The illusion of “progress”, “ innovation” and “ productivity” has has reframed the narrative and provided the potential artist the golden handcuffs. With the illusion of choices and convenience we can “offshore” our artistic responsibilities to the technology itself. Better stop now. Post getting long...😀
Well done, EB! Found that doc to be really well made and put together! A lot of good quotes from the leading synth manufacturers give an interesting insight into the (modular) synth future. New forms and possiblities of expression for artists and music producers are very welcome! And, after all, I think what really counts is that new tools help and motivate to create new electonic music, no matter if you're a hobbyist or a professional musician. Just love what you do and do it!
its way harder to do something new with something that isnt that fresh, hardware wise. Days are gone when you can make a hit with a preset from a 4k synth 30 years ago and it would sound new, just because fewer people had access to those machines. Its also quite interesting how many people are running away from computers (me included) when it comes to making music, just to require a piece of gear that is pretty much a computer underneath, because we are used to the amount of possibilities in a DAW. We need to go back to making music that transports us somewhere and not just another business model. Just make music. Look at all those boring modular set ups worth a car just to make drones and static noises through a church rev. you can do that with reaktor
Track list . . .please ;-) Hats off to the very cool doc. It really had vibe of oldie but goldie Modulations from Caipirinha Productions to it ;-) Thanks
Folktek, Ciat Lonbarde, Moog, Lorre Mill, Arturia, Bastl, Pittsburgh Modular, and many other manufacturers are doing innovative, perhaps revolutionary things. As far as the evolution of electronic music, look at the experimentalists. I love how Asmus Tietchens went from melodic techno parody to industrial to bleak, severe, sparse, ultra-minimal sine wave explorations in his "Parergon", "Soiree", and "Teil Menge" recordings.
Oscar nomination for ‘Best Synthasexual’s Gear Porn’ Award. A-1 casting, too! This is really interesting and captivating, and inspirational. THANK YOU for sharing this.
It sounds like the entire conversation was more on now that we have this huge vocabulary, how can we improve the stories we tell with it They title themselves as engineers but really they are the curious architects to a new continent, with a very diverse and expressive culture. And even more so, all these different parts and phenomena work together to produce a sound, a song, a feeling and we all indirectly as individuals do the same to push the boundaries of expression further. The fruits of the future literally hang in front of us. Now it’s about how do we reach up and pick it
Yeah because Artist Like Former or Chee now move beyond basic Sound design of those stubborn analogheads. Or Look at Culprate. Btw noone Cares about Boring Lex Luger Beats.
I love what Behringer are doing... meanwhile Verbos copies Buchla and Erica Synths copies the Polivoks. Let's not pretend they're above cloning vintage gear. My favorite synth company is Dreadbox, who deserve some representation in this video.
Verbos with his expensive retro modules dissing Uli who made those cheap clones for cheap producers like us. What he thinks? a new genre like House+Techno was made with soundboxes nobody wanted at the time. and they were cheap.
Nothing bad about clones and Behringer is doing a great job but let’s be honest there is a big difference if you clone popular machines for ridiculous cheap prices in your own chinese factory or if you are a little company doing everything yourself and take inspiration or clone one nerdy instrument or use a filter of this. Doesn’t mean this has to be good but it’s a completely different business. But Behringer is definitely not doing innovative gear (so far).
@@ElectronicBeatsTV I know that Behringer isn't innovative. But what's unbearable is the dissing attitude of those Boutique manufacturors. They feel above others... They should stay humble and do their things without dissing anyone.
@@ElectronicBeatsTV So if Mark does clones that cost an arm and a leg, its fine. But if Behringer does cheap clones in their massive factory, its not fine. Double standards much?
@nektar You can‘t compare Behringer with everyone else. That‘s a different business model. All Iam saying is they are not innovative. They give people what they want and what was made before from someone who was „innovative“.
I love my computer. There. I said it. My computer does everything I need it to do, and the 'rigid' factor they are talking about is said in abject ignorance. Watch any 'ambient' modular video and what do you see? Bleeps and Blops repeating forever. I never see anyone playing anything. So for me, this is the same as hitting play in Ableton and having it randomly play clips of 3/4 bleeps and bloops and walking out of the room, while the 'machine' sits there next to some green plants and fancy camera work that looks like a target commercial. That is not the future. But I love T-shirts with this shit on them. So I must be nuts.
abject ignorance is your speech about modular, etc.... The rigid factor is about the sound generation coming from computers. Analog instruments are naturally organic with non linear behavior, this is what attract peoples in the old gear/models. If you don't use very complex algorithms, well your computer plays always the same sound. With a modular with VCO your oscillator is organic, there are natural detuning, phase effect, etc... that give something more to the sound, more pleasant than just the same rigid sample , that is always the same when you hit a key. Acoustic and analog instruments have natural complexity making the sound better, with computers you need to program this complexity. And some peoples make more than just bleeps and blop with their modular.
@@jean-louispech4921 I'd not say it's abject ignorance since I've used modular gear, but I get what you are saying. What I was conveying was that the computer does not have to be "rigid" either. And for me, it isn't when I don't want it to be, as my synths aren't either.
I’m surprised this video didn’t go into any of the midi controllers like the Lightpad, AlphaSphere, The Crystal Ball, etc. also VR will surely change the way we interface even more dramatically.
Because telekom electronic beats only delivers whats hyped by hipsters. Theyre not really in the Materia and never show u any stuff necessary for a future of Sounddesign.
I think as long as we musicians remain passionate about making music, then nothing is more important. This is a really interesting topic nevertheless and I agree 100% that the ability to express yourself on an electronic instrument is getting better and better. The future is looking great.
Whether we believe that music tech has reached sonic limits or not, the bigger question is how are we going to experience sound/music. For music technology to reach its next step in evolution is to look towards other (complementary) technologies. VR, brain interfaces, synesthesia emulators etc. Next decade is going to be totally bonkers in that regard. I mean, either that or just pop some acid on your tongue.
Guys, track at 0:51, please? I found the one on 4:42 it's Mark Verbos - Walk the Distance. I assumed the first one is from The Bunker New York and listened to every track they had. Please end my suffering. I've been looking for it for 2 years.
Interesting from the hardware design perspective although I am more looking forward to the next leap in production which comes from an individual who uses the current tech in a novel or unusual way. Been a while since thats happened. Or maybe it already has and is sitting on someones hard drive right now?
This is rather a gear talk than talking about the future of the electronic music production. I would also let them talk about future of genres, audiences attention span, music streaming platforms' affects, integration of traditional instruments in electronic music or vice versa etc.
Berhinger does so well because it's affordable. And since synths have knobs to tweak, it all works. I'm fine with it except that it's so damn hard to buy here in Canada.
i would like to have an interface to my modular that i can wear like a basecap and connects to a converter who translate my brainactivities into CV and GATE signals. Ofcourse this interface will have to be learned how to handle but in the end you will have a "3. Hand" to control the synth like you never have controled a synth before in terms of speed and posibilities - for instance wear it as you sleep and record the "sound of your dreams" or just lay back and let the synth run like a drone and REACT with your brain to the sound and evolve the sound this way further more, its like a resonance of the sound from the synth and the reaction of the brain to this sounds... wow, man... think of it :)
So no mention of MIDI 2.0 at all. But when I think about it .. was the introduction of MIDI in the 80ies a milestone in electronic music, or was it only a milestone for easier production of electronic music?
The future of electronic music will come from the peripherals controlling synths and effects. I have a Moog theremin with CV output. There is the Playtronica "Touch Me" pad. This is how electronica will progress, using interfaces other than keyboards.
Having spent over two decades making music, I've seen stuff I'm glad has happened; the revival and improvement of analogue and digital technologies (including the once unfathomable FM synth technology), are the main stays. And I've also noticed a NEWER amalgamation of every kind of technology, in order to create newer genres of music. That can only be a good thing. The only slight downside, is that actual new tech is thin on the ground. There are more revisions and reduxes of older synths than ever before, which is mostly market led. And the prices are lower than expected, which is always a great thing as it allows more newer incumbents than ever before. But as bob moog said way back in 2004 or 2005 (it was in a video interview, which might be on RUclips) analog synthesizer technology is a mature technology. So the way forward has to be more amalgamation of various methodologies (including granular and sampling /sample manipulation) AND some newer controllers and modifiers for real time use. Some Eurorack modules are already moving in this direction. Ultimately interacting with the tech and how easily it's available AND adaptable was and is the key to creativity. The 'happy accident' concept still applies (i.e. sometimes the misuse of technology resulting in a new sound or style/genre of music), but the interfacing and user friendliness is paramount. Here's to another 50 years of new and useful sound and technological developments. 🍷
People created house and techno music with well equipped studios as well as discarded 303's they bought at the pawn shop for $150. Is it any different today where boutique synth makers feed one corner of the market and big manufacturers feed another corner of the market. The Fender Strat has been around since the mid 50's and is still made today so congrats to Behringer for keeping the 808 and 303 alive. There is more than enough equipment and technology out there to keep the music alive and well and yet musicians will always struggle to keep up with the classics.
Analog synthesisers have that nonlinearities digital synths don't have yet. But vst synths like Repro-5, Diva, The Legend, OP-X PRO-II are pretty damn close to sounding like analog thing
organic sound, non linear behavior, and direct control that you don't have with a mouse. Some process from analog synths need a very high quality and power on computer for sounding as good when its involve modulations at very high frequencies. When you work at 44 kHz sampling rate, you just have a few samples per cycle for high frequency ( 4 for 11 kHz ).
Imagine a keyboard with a blank touchscreen that lets you add any type of module, operator, oscillator, and connect them however you want, and let’s you assign parameter controlling physical knobs and sliders. That would be revolutionary.
so basically ableton with any controller with knobs and keyboard running on computer with touch screen. (or if you insist on modules then just VCV rack)
No real mention of Physical Modelling? My prediction is that this will be the next real revolution. Roland have already bet this is the correct direction (by choosing to forego analogue revivals of their own gear in favour of digitally modelling analogue circuits). The analogue hardware boom has been great for supporting the democratization of the music industry, but didn't bring a great deal of newness to the sounds we make. 20 years ago most of us couldn't have afforded decent synths except in virtual form, so its been a fantastic time. The next step will be physical modelling though I think...
physical modeling will be more interesting with the new interfaces like the Osmose. The greater challenge would be using physical modeling for making new interesting sounds/instruments.
![Felix "Unfair" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/Oswujxm2Ag0/mqdefault.jpg)
The guy dismissive about the clones isn't taking into consideration that the masses haven't necessarily had access to these sounds in hardware form, ever. The clones are a stage of the refinement, like any new technology, where prices decrease and products become more attainable to the everyman. Inequality extends itself to techno.
right. They're just tools to me.
+100 I can’t afford to be a snob. Thank you Behringer.
Agree
He's just a butthurt capitalist? Neutron was my first synth and its a gateway drug!!! Now i want something better and beefier.
iamgolum yeah, he works for an electronics company. He’s not thinking about the music we’ve yet to hear from the guy who couldn’t afford a Moog before. He’s thinking about innovation that will sell more units.
We’re in no shortage of original equipment. We are in shortage of artistic people with appropriate attention span to get down with an instrument and make art. The future of music after all has always been determined by artists using equipment frequently the “wrong” way. Of course you need the Leo Fenders and Bob Moogs but at the end of the day its the Hendrix’s and Kraftwerks that carry the torch of music forward.
Thanks for telling the uncomfortable truth.
Very cool piece.
PSA kids - as a suburban dad getting into modular.... That’ll probably be the death of it. I also killed the handle bar mustache. Target t shirts with modular synths on them for sale at Target in 2020.
Its only suburban dads getting into modular, they have the disposable income for it. Most kids (people under 30) are using hacked versions of fruityloops, ableton and any touring artists have already learned what a massive pain in the ass transporting a moduler synth on the road is. Kids outside of the US/Western Europe/Asia cannot afford a modular synth but everyone can get their hands on software. Sample packs also fill the void and make these sounds accessible. Ironically Aphex Twin made a lot of the sounds on his first albums with discarded and forgotten synths. It was the same with roland drum machines.
@@bikesbeersbeats Nailed it with this comment.
bikesbeersnbeats! Totally agree. 20 years ago It would have been extremely difficult to put together the funds for modules to fill a skiff.
@@CaveWay true but was very expensive to buy a good synth too. not much difference.
The Linnstrument was one of the first controllers that had me thinking that we could take the expressiveness of acoustic instruments into the electronic realm. Clever fellow, that Roger Linn.
The revolution will happen when all this tecnology can be consumed for all over the world, especially Africa and Latin America that have an amazing and rich cultural heritage but wick currency. Now, even the cheaper modular synths are a fortune for a normal (middle class) brazillian like me. Electronic and digital music needs cultural clashes to evolve from pure tecnology to a mass and universal form of expression.
Behringer‘s argentinian and brazillian distributors just did a nice move. Did you hear about it?
To be honest, the eye-watering cost of modular is prohibitive for people everywhere. I’ve a well paid job in the UK. I started out with some modular but after a while (£2000+!) I had to give myself a talking to, stopped, and sold it all. It was a sort of compulsive, consumptive, madness. Felt a bit yucky in the end. Weird. I have had more pleasure from Fugue Machine in my iPad.
One of simple and rough things I've learned about creation of electronic music: those who have enough money don't know what to do with the gear and it then just laying dead on their shelves. While others who live with music in their hearts and can literally explode with it using the groovebox or couple of keyboards, they usually don't have a spare dollar for a coffee or beer...
If you think you need money to make good music, then you're very much wrong.
Yep. Live music is kinda not really super popular. Maybe live electronic will bring it back but many people dont truly appreciate it so
Theres a reason why software will own the future i think. Hardware is nice for workflow but software is too easy
love that you can see Sebastian Mullaert just wandering around in the back at 7:56 - 7:59
Good eye!
For me, it'll become more about MUSIC MAKING, (something not very present or important in the subculture now)... I also agree with haptics feedback rich controllers & displays as mentioned by one of the interviewees. I also for-see completely fully programmable modular & hybrid systems [both analog/digital], with full digitally controlled analog pots/motorized sliders/recallable switches, as well as robotic real time control of them elements (including patch routing connectivity), ...my two cents...
Yes, I would agree that actually creating, producing and releasing music is going to have to become more important. Right now I see more demos or jams than actual pieces of music. I myself am guilty of it too. it's classic GAS!😂
We want instruments so sensitive that it can express our every exhale, finger wobble or any of the things a violin, a guitar or any drum can do. Period.
Say less
There are the C15, the continuum, the new Osmose, etc... going in this direction.
Yes it is a new way for the instruments, going above the limitations of the MIDI 1.0.
The Osmose fits with keyboard playing, and is attracting several musicians.
@@jean-louispech4921 thank you!
"In committing to artistic growth, you have to refine your skills to support your instincts." The future of electronic music is in the interface and the ability to develop something which people can express a wider and wider range of feelings and nuance--whether that's sequencers, synths, or effects, or networked modules. It's about the continuation of the work of people like Todd Machover, whose hyperinstruments took "a minute to learn, a lifetime to master".
+1000 you get it
This guy gets it! Stream more sets please
I've been messing around with music tech since the mid 80's. There's some outstanding music being made at the end of another decade that's for sure. A part of me does wonder if there can be anything truly original and unlike anything we've ever heard before as we enter the 2020's though? I think as novel technology became accessible to the masses, like samplers at the end of the 80's, then this kick started whole new genres like Jungle/D&B.
Can there ever be another period where people go WTF is THAT music? Or have we hit some kind of sonic limit where everything that sound can do has been done? I've always tried to keep informed and keep my ears peeled for new things, so that I'm not just listening to the records from when I was younger.
That’s the big question.
I feel exacty the same. I have been messing about with samplers and sequencers since the late 80's. Cubase on an Atari ST and Akai samplers to start with and now have gone back to basics with analog gear and an Akai Force and maybe moving into the Eurorack setup..I feel we may have met that plateau where what else would blow us away and sound so fresh and exciting like it used too, for me going back to the very early rave days and those classic piano riffs then moving on to tracks like 'Salt water' and Chicane and 'Energy 52 Cafe Del Mar' . Today I can't really tell the diffrence from a tech house track made 12 years ago compared to a new release today of the same genre. When the dubstep arrived that excited me for a while but I think the genre faded fairly fast.. I still am hoping and waiting for the fresh new sound to hit me again. Or maybe I'm just old and haven't moved with the times.
@@FrankieWildeDJ It's not an age thing as a lot of young people are attracted by classic analog sounds. Maybe it's to easy nowadays so that it is easier to use sounds which comes with the synths or sample banks instead of programming sounds from scratch. There will be always innovation but the steps are much smaller nowadays and if something new pops up it takes years until people get used to it.
@@ElectronicBeatsTV Very true. I must admit I am now at my most creative and enjoying my production more than ever now I have stepped away from the pc completely.
It will be variations on a theme, but as with cooking you can still come up with a new dish using similar ingredients. It will never be a new discovery like in the beginning. Less is more in this game sometimes.
16:05 look everybody! It's Erica!
....depends on whether you're creating music or involved in sound synthesis. They do overlap.
From my point of view the main elements of music are melody and expressing a mood or feeling and this can be a very broad canvas to sketch on. The paint strokes become as important as the spaces - in fact one cannot exist without the other.
Ultimately it's a personal experience that sometimes ends up affecting other people - and in different ways.
Electronic based music does create its own canvas - extends it, changes the brushes, the paint and can create wonderful audio illusions....
"the main elements of music are melody and expressing a mood or feeling" totally agree
great job with the video. Everyone you interviewed felt so relaxed and open!
Thank you EB for this wonderfull video!! Well done as allways.. Peace
Fascinating. I do think that the future of electronic musical instruments is the future of computers. PC's - as a generic name for any portable computer, not some specific brand - can be musical instruments, but are not designed with that intention.
To imagine analog gear with dedicated CPU's, RAM and whatnot is something that just blows my mind.
Great video and feels like a real positive time to be alive... Really agreeing with the interface being the key to expression.. really excited about the future thanks for making this awesome video
As usual you deliver quality videos! Thanks :)
Mark Verbos complaining about clones, while showing footage of him building the Verbos modules that are clones of Buchla. da fuq?
Let‘s say inspired by, not cloned. And Buchla was so ahead of his time.
Being a DJ for quite some time, I've always wanted to get into producing but was always put off by making music inside the box and the steep prices for analog gear. Behringer made it possible for me with their adaptions of the 808, 101 and soon to come 303. I totally feel Mark Verbos for saying something like that, because he and his rather small comany have to share the same market with a giant like Behringer... Nontheless it's great what Behringer does right now to get more people into producing electronic music.
Telekom Electronic Beats just like the rd8 is to the 808.
@@MrJemabaris totally agree! I would have never spent the money on a tb303. not because I don't want to, just because I couldn't afford it. a couple of days ago my behringer td3 finally arrived and I would say it sounds amazing! I know people say its not the same and it doesn't sound exactly like the original. but honestly.. who cares? first of all it doesn't need to be exactly the same sound to sound good and I would say, when a sequence is played in a song where lots of other sounds are being played as well, most people couldn't tell which on is which. So fuck it, Behringer is doing the right thing
@@ElectronicBeatsTV very informative video indeed. Was equally captivated with the selection of the background tracks as well.. any chance you could share the playlist with us? Thanks!
As a first generation synth composer (started 1970's/80's, currently writing music under PRO: BMI, Inc) I'm happy that companies are making modular driven synthesizers and synthesizers modules as I like to write 1980's new wave and also ambient genres of music. I think BEHRINGER with it's affordable clones like the "Crave" is great because it provides that great analog sound, sequencer and real time control and feel to people that have never had a real analog monophonic synthesizer. Same as Arturia when they made the Microbrute, analog mono synth, but a bit unique sounding. In the end, if you really want to evolve synthesizers, make hybrids as all the best into one. Or do it the "old school" way, and layer them in production to get a unique sound that is your own. - "So says Mr.Tom... and so it was written..."
What is Crave a clone of?
@@ShakaCthulu its a moog m32 basically
very, very inspiring.....I'd hit a creative wall this week, this vid just encouraged me to break thru it today. Thank you!
a very exciting but also important topic for electronic music. I look forward to creating new exciting sounds with new innovations in the future. thanks for the great video and raising awareness of an important topic ! Greetings
From a Live peformance point of view this is all very exciting!
I think going forward, the key driving paradigm will be music performance vs recording. There’s no financial incentive or reason for 99.9% of the music makers to record or distribute music. But live performance (even streamed) is where it’s going to be at.
Hand in hand with that the next revolution will come from performance interfaces. Being tied to a keyboard paradigm is silly.
Roland’s iArpeggio in the new Jup is a great start. Scale/mode/chord aware pads/triggers etc. with a focus on expressivity.
My $.02
Dunno about the electronic gear that they use but the camera pictures and the camera work is stunning.
One of the best video's about music production i've seen in a long time.
However, speaking about sounds and new technology. I don't know if it really matters, it's all about the emotion that's passed on and can be felt in songs, not just the techniques. So who cares if there aren't any big new musical inventions nowadays
you get alot of great instruments for a low price, these are good times
low price, yet I still cannot afford a basic synth...
Nut keep up that hustle and prioritize.
@@MarcadamiaNut start with something like a korg esx-1 and work your way up throughout the years.
It's a long way. I quit smoking to buy synths, that worked out pretty well. Like Eric says, just prioritize. Don't get that expensive phone, get a cheap one and buy that synth you want.
or just save 50euros per month, thats 600 a year for instance. Stuff like that. Sell everything you don't need and buy something you will use. Second hand market is a good starting point & gets you lots of experience, you don't have to buy everything new.
"Electronic music is still very young, but it has also started aging." Brilliant!
"Electronic music is still very young"...I suppose that depends on your point of reference.
Yeah this guy had some really pertinent points!
What's so brilliant about that? That's easy to see.
@@eleven9286 I guess I'm not as smart as you, so it wasn't so apparent to me until it was pointed out in this video. The framing of an 'obvious' yet overlooked phenomenon in a clever way is, in my opinion, brilliant.
The beauty of it is experimentation following pleasure of coincidence.
Thanks for sharing your thoughts!
Nice documentary...I'm a bass player, songwriter, composer, a traveler into the depths of audio ocean of adventures...in other words, I don't have a band and I experiment with sounds by myself in my basement :))) My two cents on this very interesting topic:
1) No matter how super democratic and affordable (playing and ) recording had become, there are still limitations. Before say couple of decades main limitation was the technical ability to play an instrument. Now, the limitation is the ability to code, connect, wire your gear....still a technical one :) Still not as immediate or intimate as let say playing a guitar...
2) The purpose of sound creating for me always remains how to fit this sound best into a song, or another piece, rather than just endlessly sculpting that very sound...
In no way I intend to minimize the efforts and the creativity of all those many good people building new machines, opening new sound dimensions for us to explore. And here my question: what do you think is the market cap of electronic music production tools worldwide ? Is there even an idea how many people buy new gear annually ? Thanks ! Subscribed !
11:00 = the new Osmose by Expressive E or Continuum by Haken Audio
That "No, I'm not Erica" tshirt 😂
Check her music ruclips.net/video/_HSVqyqW4cg/видео.html
Exactly 😂
I don't get it
Excellent. I feel all of this trying to design my first module for over two years now. It's got to land in a place that's actually useful for musicians, and that process takes a lot of time.
We are truly in the golden age of the Synthesizer! And I couldn't happen to be here, and be a part of it!
Thank you! SO many great minds on this. I would like to add there is infinite potential to grow in the performance space.
the future will come from HOW people use gear and not just new technology :}
“Two turntables and a microphone”
tons of comments asking about track IDs in this doc. can someone please let us know what these background tracks are or who they are by :)
In the video and comments section, everybody is carefully saying what everybody has been thinking for a very long time. Where is the music?
Of course there will always be good music being produced. Music is, by definition (generally) good. Notwithstanding your own personal tastes. That’s not the point.
Music has not had a significant cultural impact for quite awhile. Why is that? Well, let’s stick with the realm of electronic music here. My observation is that the culture of the synth industry and people who buy this type of music gear is no different than that culture that drives iPhones, laptops, smart TVs etc.. We position ourselves as consumers. So we are never happy ( not analog/digital enough, not enough octaves, midi won’t run over here, can’t do this, can’t do that ) . The focus is on “innovation” and “progress” which really just is a demand for more products. Find a synth jam on RUclips and I will show you that we don’t demand the same thing from ourselves. Impressive technically but not significant in the least.
Although the recent spate of affordable gear has benefited people like me, it has not benefited music culture at all. Just go to gearslutz forum or reddit and the endless debate on gear value, analog/ digital, pro vs toy, doesn’t give me the impression that there’s a lot of artistry happening. The debates are not artistic or cultural anymore.
What is happening in the electronic music world is just a microcosm of what is generally happening around the world. The illusion of “progress”, “ innovation” and “ productivity” has has reframed the narrative and provided the potential artist the golden handcuffs. With the illusion of choices and convenience we can “offshore” our artistic responsibilities to the technology itself.
Better stop now. Post getting long...😀
👍🏻
@s devrim That's what I see in the rise of vinyl, CV, and so forth.
This reads like a good article.
I agree wholly, great comment!
Great insights.. Great times ahead.
Well done, EB! Found that doc to be really well made and put together! A lot of good quotes from the leading synth manufacturers give an interesting insight into the (modular) synth future. New forms and possiblities of expression for artists and music producers are very welcome! And, after all, I think what really counts is that new tools help and motivate to create new electonic music, no matter if you're a hobbyist or a professional musician. Just love what you do and do it!
What is the track playing in the background in the first few minutes?
cool video...but what about Vlad Kreimers SOMA LABORATORY
!?
I would love to know wich track is played at 13:33. Great video!! thank you very much.
What’s the name of last track?
Good question!!
Based on your experiences, what do you think is left to design in synthesizers?
its way harder to do something new with something that isnt that fresh, hardware wise. Days are gone when you can make a hit with a preset from a 4k synth 30 years ago and it would sound new, just because fewer people had access to those machines.
Its also quite interesting how many people are running away from computers (me included) when it comes to making music, just to require a piece of gear that is pretty much a computer underneath, because we are used to the amount of possibilities in a DAW. We need to go back to making music that transports us somewhere and not just another business model. Just make music. Look at all those boring modular set ups worth a car just to make drones and static noises through a church rev. you can do that with reaktor
Track list . . .please ;-) Hats off to the very cool doc. It really had vibe of oldie but goldie Modulations from Caipirinha Productions to it ;-) Thanks
Folktek, Ciat Lonbarde, Moog, Lorre Mill, Arturia, Bastl, Pittsburgh Modular, and many other manufacturers are doing innovative, perhaps revolutionary things. As far as the evolution of electronic music, look at the experimentalists. I love how Asmus Tietchens went from melodic techno parody to industrial to bleak, severe, sparse, ultra-minimal sine wave explorations in his "Parergon", "Soiree", and "Teil Menge" recordings.
Oscar nomination for ‘Best Synthasexual’s Gear Porn’ Award. A-1 casting, too! This is really interesting and captivating, and inspirational. THANK YOU for sharing this.
It sounds like the entire conversation was more on now that we have this huge vocabulary, how can we improve the stories we tell with it
They title themselves as engineers but really they are the curious architects to a new continent, with a very diverse and expressive culture.
And even more so, all these different parts and phenomena work together to produce a sound, a song, a feeling and we all indirectly as individuals do the same to push the boundaries of expression further.
The fruits of the future literally hang in front of us. Now it’s about how do we reach up and pick it
This helped me with my contemporary electronic music essay. Thanks.
The future of electronic music will come from kids messing with cracked FL studio
And they wouldn't make techno
@@tobiaszimmer9624 techno is old and limited, let's move on
Yeah because Artist Like Former or Chee now move beyond basic Sound design of those stubborn analogheads. Or Look at Culprate. Btw noone Cares about Boring Lex Luger Beats.
Or Look at fucking ARKTKT.. nothing a modular nerd could do
@@TheTrancemaster90 old and limited, thats me!
Thank you for this! Awesome look into the insights and the wave of technology we can look forward to.
oh my gosh, the "no I'm not erica" shirt is amazing.
I love what Behringer are doing... meanwhile Verbos copies Buchla and Erica Synths copies the Polivoks. Let's not pretend they're above cloning vintage gear. My favorite synth company is Dreadbox, who deserve some representation in this video.
Verbos with his expensive retro modules dissing Uli who made those cheap clones for cheap producers like us. What he thinks? a new genre like House+Techno was made with soundboxes nobody wanted at the time. and they were cheap.
Nothing bad about clones and Behringer is doing a great job but let’s be honest there is a big difference if you clone popular machines for ridiculous cheap prices in your own chinese factory or if you are a little company doing everything yourself and take inspiration or clone one nerdy instrument or use a filter of this. Doesn’t mean this has to be good but it’s a completely different business. But Behringer is definitely not doing innovative gear (so far).
@@ElectronicBeatsTV I know that Behringer isn't innovative. But what's unbearable is the dissing attitude of those Boutique manufacturors. They feel above others... They should stay humble and do their things without dissing anyone.
@@ElectronicBeatsTV So if Mark does clones that cost an arm and a leg, its fine.
But if Behringer does cheap clones in their massive factory, its not fine.
Double standards much?
@nektar You can‘t compare Behringer with everyone else. That‘s a different business model. All Iam saying is they are not innovative. They give people what they want and what was made before from someone who was „innovative“.
13:31 Where can I listen that full track?
ah i was hoping someone had asked that, but no answer..... anyone?
@@mattbray_studio Nothing yet
Song ID for 0:52 PLEASEEEEEE🌞
I love my computer. There. I said it. My computer does everything I need it to do, and the 'rigid' factor they are talking about is said in abject ignorance. Watch any 'ambient' modular video and what do you see? Bleeps and Blops repeating forever. I never see anyone playing anything. So for me, this is the same as hitting play in Ableton and having it randomly play clips of 3/4 bleeps and bloops and walking out of the room, while the 'machine' sits there next to some green plants and fancy camera work that looks like a target commercial. That is not the future. But I love T-shirts with this shit on them. So I must be nuts.
that's the typical moog promotional video :)
abject ignorance is your speech about modular, etc....
The rigid factor is about the sound generation coming from computers.
Analog instruments are naturally organic with non linear behavior, this is what attract peoples in the old gear/models.
If you don't use very complex algorithms, well your computer plays always the same sound.
With a modular with VCO your oscillator is organic, there are natural detuning, phase effect, etc... that give something more to the sound, more pleasant than just the same rigid sample , that is always the same when you hit a key.
Acoustic and analog instruments have natural complexity making the sound better, with computers you need to program this complexity.
And some peoples make more than just bleeps and blop with their modular.
yeah look at richard devine then we talk later :) between we euroracker use pcs some time too in the end its al about the sound you want to make
not "ableton", but "ableton with max/MSP", dude :)
@@jean-louispech4921 I'd not say it's abject ignorance since I've used modular gear, but I get what you are saying. What I was conveying was that the computer does not have to be "rigid" either. And for me, it isn't when I don't want it to be, as my synths aren't either.
I’m surprised this video didn’t go into any of the midi controllers like the Lightpad, AlphaSphere, The Crystal Ball, etc. also VR will surely change the way we interface even more dramatically.
Because telekom electronic beats only delivers whats hyped by hipsters. Theyre not really in the Materia and never show u any stuff necessary for a future of Sounddesign.
Ylva M. Maybe you can help out?
Track ID for 0:51 please!
Great video, but the background music is really amazing. Care to share who did it?
yes please!
Thanks for the video, really interesting to have all these interesting people doing interesting stuff talking about what they find interesting ;)
Interesting
Tim Exile is SERIOUSLY forward thinking.
Lovely inspiration!
I think as long as we musicians remain passionate about making music, then nothing is more important. This is a really interesting topic nevertheless and I agree 100% that the ability to express yourself on an electronic instrument is getting better and better. The future is looking great.
11:08 Is he wearing that synth?
Nice One!
Anyone know what the first track is called? :)
I'd love to know if there are different answers to these questions after Covid-19, and the sudden demise of mainstays in eurorack like WMD.
Nice doc! But where are the guys from Teenage Engineering?
Robert Radünz I was going to say the same thing!
Good Docu, many thanks :)
Whether we believe that music tech has reached sonic limits or not, the bigger question is how are we going to experience sound/music. For music technology to reach its next step in evolution is to look towards other (complementary) technologies. VR, brain interfaces, synesthesia emulators etc. Next decade is going to be totally bonkers in that regard. I mean, either that or just pop some acid on your tongue.
10:50-12:13 I agree, digital becoming more natural
I would have really liked to actually sometimes hear what these people are doing when they are playing these synths.
We need a track list! There's some really good stuff here, credit the artists!
Walk The Distance - Mark Verbos (in here somewhere ;)
@@neilspoonfluff6426 Thanks, man! Do you know the one on 0:51?
Guys, track at 0:51, please? I found the one on 4:42 it's Mark Verbos - Walk the Distance. I assumed the first one is from The Bunker New York and listened to every track they had. Please end my suffering. I've been looking for it for 2 years.
same hahah
Interesting from the hardware design perspective although I am more looking forward to the next leap in production which comes from an individual who uses the current tech in a novel or unusual way. Been a while since thats happened. Or maybe it already has and is sitting on someones hard drive right now?
Good work
Lovely interviews 👌
I could not have access to a 101 until Behringer came along.
This is rather a gear talk than talking about the future of the electronic music production. I would also let them talk about future of genres, audiences attention span, music streaming platforms' affects, integration of traditional instruments in electronic music or vice versa etc.
These are different topics you mention. This video here is about gear and the question what’s next in terms of synths, synthesis, sounds etc.
@@ElectronicBeatsTV yes but electronic music production is not only about synthesizers. Well maybe for the hobbyist...
@@ahzootube
this is the topic of the video.....
Berhinger does so well because it's affordable. And since synths have knobs to tweak, it all works. I'm fine with it except that it's so damn hard to buy here in Canada.
i would like to have an interface to my modular that i can wear like a basecap and connects to a converter who translate my brainactivities into CV and GATE signals.
Ofcourse this interface will have to be learned how to handle but in the end you will have a "3. Hand" to control the synth like you never have controled a synth before in terms of speed and posibilities - for instance wear it as you sleep and record the "sound of your dreams" or just lay back and let the synth run like a drone and REACT with your brain to the sound and evolve the sound this way further more, its like a resonance of the sound from the synth and the reaction of the brain to this sounds... wow, man... think of it :)
guy from Apples in Stereo did a primitive version of this: ruclips.net/video/7epOhWDBxS0/видео.html
the melody Stimming at 10:53 is playing reminds me of LudoWic - Reading a file
So no mention of MIDI 2.0 at all. But when I think about it .. was the introduction of MIDI in the 80ies a milestone in electronic music, or was it only a milestone for easier production of electronic music?
The future of electronic music will come from the peripherals controlling synths and effects. I have a Moog theremin with CV output. There is the Playtronica "Touch Me" pad. This is how electronica will progress, using interfaces other than keyboards.
That's what buchla said 70 years ago
Will someone identify a module for me please
It's at 12:38 top left, the oscilloscope. Who makes it, what's it called?
Cheers
Ruby Skip Mordax ‘Data’
@@davidprescott-steed2734 superstar
Do u use modular?
It's all good...plenty of synth noodling for the older heads to trip with and quality squelch for the youth to bang...
fuck yes
Having spent over two decades making music, I've seen stuff I'm glad has happened; the revival and improvement of analogue and digital technologies (including the once unfathomable FM synth technology), are the main stays.
And I've also noticed a NEWER amalgamation of every kind of technology, in order to create newer genres of music. That can only be a good thing.
The only slight downside, is that actual new tech is thin on the ground. There are more revisions and reduxes of older synths than ever before, which is mostly market led. And the prices are lower than expected, which is always a great thing as it allows more newer incumbents than ever before.
But as bob moog said way back in 2004 or 2005 (it was in a video interview, which might be on RUclips) analog synthesizer technology is a mature technology. So the way forward has to be more amalgamation of various methodologies (including granular and sampling /sample manipulation) AND some newer controllers and modifiers for real time use. Some Eurorack modules are already moving in this direction.
Ultimately interacting with the tech and how easily it's available AND adaptable was and is the key to creativity. The 'happy accident' concept still applies (i.e. sometimes the misuse of technology resulting in a new sound or style/genre of music), but the interfacing and user friendliness is paramount.
Here's to another 50 years of new and useful sound and technological developments. 🍷
Vaclav nailed it.
excellent.
why you never put the music credits?
nice documentation :)
Awesome👍🏼!
People created house and techno music with well equipped studios as well as discarded 303's they bought at the pawn shop for $150. Is it any different today where boutique synth makers feed one corner of the market and big manufacturers feed another corner of the market. The Fender Strat has been around since the mid 50's and is still made today so congrats to Behringer for keeping the 808 and 303 alive. There is more than enough equipment and technology out there to keep the music alive and well and yet musicians will always struggle to keep up with the classics.
Great sample of information on a very West cost sort of pack. I am very impressed how the middleground is being build
Can someone explain what the difference is with these physical synthesizers than the digital synthesizers that exist in DAWs?
Haptic feelings and emotions. Not sound.
Analog synthesisers have that nonlinearities digital synths don't have yet. But vst synths like Repro-5, Diva, The Legend, OP-X PRO-II are pretty damn close to sounding like analog thing
Adrian Donal Beats cool this gives me a better idea. Thanks man
@@wtfmario you're welcome fam ;)
organic sound, non linear behavior, and direct control that you don't have with a mouse.
Some process from analog synths need a very high quality and power on computer for sounding as good when its involve modulations at very high frequencies. When you work at 44 kHz sampling rate, you just have a few samples per cycle for high frequency ( 4 for 11 kHz ).
whats the last song???!! really dig it - soo smooth!! nice video btw :)
Imagine a keyboard with a blank touchscreen that lets you add any type of module, operator, oscillator, and connect them however you want, and let’s you assign parameter controlling physical knobs and sliders. That would be revolutionary.
so basically ableton with any controller with knobs and keyboard running on computer with touch screen. (or if you insist on modules then just VCV rack)
Background music by?
Going to need some track Ids here boyzzz
No real mention of Physical Modelling? My prediction is that this will be the next real revolution. Roland have already bet this is the correct direction (by choosing to forego analogue revivals of their own gear in favour of digitally modelling analogue circuits). The analogue hardware boom has been great for supporting the democratization of the music industry, but didn't bring a great deal of newness to the sounds we make. 20 years ago most of us couldn't have afforded decent synths except in virtual form, so its been a fantastic time. The next step will be physical modelling though I think...
But Physical Modelling is nothing new too.
@@ElectronicBeatsTV You're right of course. I think it will become far more widespread. Great topic and an interesting documentary. :)
physical modeling will be more interesting with the new interfaces like the Osmose.
The greater challenge would be using physical modeling for making new interesting sounds/instruments.