I still can't believe how a world-known rockstar like Trent trusts so much to an Italian born and raised in the small town of Forli'. :) Alessandro Cortini is a musical genius if you take a moment to listen to his solo projects!
LOL!! 2012... meanwhile today, 7 years later, there's a plethora of plugins that sound spot-on indiscernible from hardware Moogs and Euroracks. That said, I get where Trent is coming from - the attraction to actual hardware is indescribable.
I think what the modern era means is that I - a mostly skint aspirational musician who will probably never make a penny from my music - can have access to the most amazing machines on my laptop and iPad, and Trent Reznor can cough up thousands for a Mini Moog or whatever. We're both making art and - I believe - both are as artistically valid.
For the record those are not Trent's -- they were from another studio we visited, and the shot of those large vintage unobtanium synths was used to illustrate the point he was making.
DX7 and FM synthesis is still to this day taboo and very hard to program,but they have their sound that any other synthesis is not capable of, and that is thing that we should appreciate as musicians.
I lost count the hours weeks days months I spent lost in my first synth, the Basstation 1, with a 4 track and some fx pedals. 25 years later, I'm going back to a 4 track, because there is some alchemy at work, in teasing out a sound, playing with a 4 track as an instrument itself, the tape hiss is a magical texture, the actual process of manipulating sound through a physical object is a ritual that connects us to something that has been lost with digital, why are 4 track tape machines such sought after devices, when you could get an 8 track digital for the same price or less? it's not just the hipster factor, there is something deeper at work here, the process makes the magic
Damned right man. These up and comers today don't understand or know anything about what it's like to be limited and creative. Less has always been more, and still works after 21 years of making music. Don't ya just love this shit...SBN RESONATE
I think the modular stuff is cool and all especially if you have the patience and I love the sounds people like Trent and guys like Vince Clarke are able to create, but I prefer to be able to recall/edit patches quickly and save everything easily so I'm much more happy with my NI, UVI and Arturia software and they all sound great. I remember back in the 80's when I and had my Pro-One, JP8, SH101, TR808 (wish I hadn't sold that gear because now its worth so much $$$) all I wanted was patch recall, midi and velocity sensitivity etc... I taught a lot of Ski School classes to buy my first DX-7 back in 85'.
Maybe Trent should try and make his own Synthesizer that would be a great piece of art seeing as how passionate he is with thier history and progression through the years
I think low-cost synths and VST are also a reason why modulars are back. These low cost entry tools have allowed more people to become familiarized with music synthesis. I'd love to be able to create a Modular rack but in all honesty, it is not monetarily viable for most of us.
It’s interesting how old this is. In the time since this interview Korg, Roland and Yamaha have all released new boutique synthesizers and even Behringer... Lol
God I used to work at Guitar Center in the keyboards section. We'd have amatuer hiphop producers bringing in floppies to save their work on our Korg Tritons, because they either couldn't or didn't wanna buy one. (not sure why anybody would want to) So I redid some Dr. Dre tunes on a Korg ES-1 on the other side of the room I had router to their speakers (at a much louder volume) You could cue patches on it to play after the current one was finished. So I had it start a silent patch at 20bpm with the dre tunes cued, to give me time to leave the room. That was fun to watch. Well thanks for listening.
Yea i remember just staring at a Moog which was only like 700 dollars in Mexico. They didnt even let you play unless the owner thought you looked like had some cash on you. Now if you are interested in this you can Download VCV which is open source and free and start experimenting. The reality is that this S#!@ is still really expensive but the emulation got really good.
I remember that phase 3:20 felt like most of the late 80's and well into the 90's when I was just starting out.. i lucked into finding an Octave Kitten at a pawn show in kansas city, KS for $150. or my first synth, the polysix this seemed like the only way to get a synth that actually had knobs.. even if i could afford something new.. knobs were just not a thing for many years.. then i remember the DJ-X coming around.. and Roland's grove boxes started to get more knobby again..
I realize this is very old but to anyone else interested, Trent has gone further in depth about the DX7 elsewhere. He doesn't hate it individually, he knows as well as anyone that the DX7 is and was a capable and actually affordable (for once) instrument for musicians. He also gushes about FM synthesis a little bit in other interviews. His beef with the DX7 has more to do with the impact its success had on the trends that came shortly after. Thats what he was really bitching about.
Yes I had that all in one half ass Rolland 3630... but that's all I could afford. OMG I just played a real Minimoog compared to plugins I had he is so right. But the Bahringer Model D...I cant tell the difference.
I can to relate to monotony of Yamaha's shitty interface. Never liked them, but I knew the synth had potential. If the Jellinghaus DX7 programmer ever came to the U.S. it would have helped a lot of musicians.
I have to say I don't know so much about NIN, it's just not my music. But, what I find strange is how their music is so far away from these synths they're talking about. Maybe someone here could give me some suggestions and point me in the right direction of what to listen to (from NIN).
if you mean synth-heavy works of his, you could try the songs Heresy, Closer, Into the Void, The Wretched, Starfuckers, The Big Come Down, Capital G, Zero-Sum. most of his iconic original stuff is either on albums Downward Spiral, The Fragile, Year Zero and Ghosts I-IV (although Ghosts is very experimental) with some awesome tracks interspersed between other albums.
very nice one, yes. actually the first of dieters synths sounding good AND being stable. i bought one of his first modulars in 1985 or 86 when we had to solder the kits DIY. sounded pretty awful but never could be used on stage...
Alessandro Cortini is the only other member of the tour group who really should be a part of NiN. His knowledge of synths is insanity. Sure there are others too, like Robin but at it's core Allessandro fits the bill.
What are split eights? I say the same thing about these synths, for me, I'm not worried about the piano or alot of the other sounds that everyone else wants to use. Me, I'm looking for the weird bell sounds with a choir on it, or a plucked reverb string, or something that no one else has ever used, and make it sound like something great, but weird and awsome at the same time. The deep brass/string like metal sound that you hear in the beginning and end of this is just my type of sound. Add that bell or plucky reverb sound that I mentioned with it, and you can come up with something out of this world.
Right?, I think one of the reasons his music resonates with myself is because his personality is similar to mine, as im sure a lot of people feel the same. that lamp is something that i'd own.
When he's blowing off instruments like the DX7 as being dumbed-down commercial fodder for the masses, I'm going to hope that he's talking about marketing strategy; not the instrument's capabilities, which are fucking immense. I can't believe this guy, who's presenting as some sort of authority on the matter, didn't take the time to figure that out.
He meant that was the way he felt like at the time. Working in a shop with all these beautiful analog synths and suddenly there's the DX7 which at that time hadn't taken its place in history so you can imagine someone thinking it sounded like shit.
If you watch the video and actually listen to what he says, that is precisely what he's talking about. Companies holding themselves back to cater to an audience for money. "This guy" is at the top of his industry, influenced people for decades, and lived during the design eras he's critiquing. Who the fuck are you?
I didn't think he was referring to the DX specifically when he was talking about dumbed-down hardware. His comments on the DX was that it was pretty revolutionary. I think he was referring to a glut of consumer instruments that had a bunch of presets and limited editors that came out after the DX. At least that's what I got out of it.
Apparently he is: ""I'm Looking Forward to Joining You, Finally" is a poignant nostalgia trip: at 0:32 Reznor's voice falls apart 'In a blur of serenity' whilst at 0:52 the line 'The taste of sunshine/I remember sometimes' speaks volumes about the distance between childhood memories and kinaesthetic-visual synaesthesia. There are more subtle touches that jump out on repetitive listens -- hypnotic flourishes at 1:16 and 1:54, bass overlays at 2:39. "I've done all I can do/Can I please come with you?" is an anguished cry signalling that Reznor has started at one place and ended far lower -- a healthy and necessary process of shedding skin to reveal the stronger human beneath, but one fraught with dangers. The music is less icy than previous albums, and is always teetering on the edge of collapse. "
Analog snobs indeed. As much fun as you can be having by getting a sound from scratch it’s sometimes not time and money effective. I think if it sound good, no matter if is and old Roland,OP-1, a sample a Plug-in. Anything. That’s the goal.
I don't see how having a preference for certain types of gear makes you a snob. He's using the gear that he prefers to use. And some of it is digital, too, BTW.
The path to that good sound is part of the process for many people. You could just paint with a mouse... You could just explore the world via Google Earth...
When you're as successful as him and your whole career has been music, I feel that it's a natural progression to accrue any tool for the job. You also don't need an auto shop to repair a car, but it certainly helps.
@Alexandra Senna At the end of the day it doesn't matter what produces the sound or how you get there. When it all boils down, it's a story you try to tell filled with emotion. That's the end goal. It doesn't matter whether that story was written with a quill, a pen, a typewriter or on a computer. It what's inside that story that matters. Some prefer to write with a pen, others do it on a computer, some even use both. It's a matter of preference. Calling them snobs, makes you come off as an elitist who knows the one and only way to do things, which is downright ignorant, in my honest and humble opinion. These guys are artists and they prefer to do it their way. That doesn't make them snobs, it makes them master of their own craft, they know their tools, they know how to use them and most importantly they are happy doing, what they love to do, are you happy doing what you love to do? Have a magnificent day
@Waveshaper Media Thank you for explaining that. Holy hell I thought I was going to have a stroke when I read Alexandra Senna's comment. They literally said at the end of the interview "whatever floats your boat" and she comes away from that calling them elitist snobs haha. Well, if you had a massive following and were able to afford those modular and other high end synthesizers you'd buy them without a doubt. That's you literally closing your mind off to an idea because you find it elitist in some manner even though they use all of the same things you mentioned in your somewhat lazy comment Alexandra. It's sad that you think being able to afford a modular synth makes you somehow out of touch or an elitist. What a shame. For the record I agree with Ms. Senna on the use of all available gear/DAW/plugins/samplers but at the same time, so did Trent, Alessandro and Waveshaper Media so again, what was your point? Good explanation Waveshaper Media!!
That cut out to reveal the dude next to him was one of the funniest things I’ve seen in a while
Allasandro Cortini is who that dude is. Hes a member of ⁿ|ⁿ and knows just as much about synths as trent does..hell, that's his specialty actually..
I miss Alessandro. He was my project advisor and keyboard teacher at Musician’s Institute.
Reznor is a genius
I still can't believe how a world-known rockstar like Trent trusts so much to an Italian born and raised in the small town of Forli'. :)
Alessandro Cortini is a musical genius if you take a moment to listen to his solo projects!
Well Trent, I think it's safe to say you more than got your revenge on the DX7s, lol
Yeah, now I finally know where his hate towards them came from.
LOL!! 2012... meanwhile today, 7 years later, there's a plethora of plugins that sound spot-on indiscernible from hardware Moogs and Euroracks. That said, I get where Trent is coming from - the attraction to actual hardware is indescribable.
Some people walked into a store and bought a synthesizer from Trent Raznor. Imagine...
I think what the modern era means is that I - a mostly skint aspirational musician who will probably never make a penny from my music - can have access to the most amazing machines on my laptop and iPad, and Trent Reznor can cough up thousands for a Mini Moog or whatever. We're both making art and - I believe - both are as artistically valid.
Just my opinion.Trent is very dedicated to music..love the music he makes..like the way be cuts no B.S straight forward musician 👍👍..
Crazy seeing 3 2500's stacked on each other. Holy crap.
For the record those are not Trent's -- they were from another studio we visited, and the shot of those large vintage unobtanium synths was used to illustrate the point he was making.
Oh gotcha! Still though, what a shot...I've need seen 300k+ stacked on top of itself like that haha. Sonic bliss@@WaveshaperMedia
DX7 and FM synthesis is still to this day taboo and very hard to program,but they have their sound that any other synthesis is not capable of, and that is thing that we should appreciate as musicians.
I lost count the hours weeks days months I spent lost in my first synth, the Basstation 1, with a 4 track and some fx pedals. 25 years later, I'm going back to a 4 track, because there is some alchemy at work, in teasing out a sound, playing with a 4 track as an instrument itself, the tape hiss is a magical texture, the actual process of manipulating sound through a physical object is a ritual that connects us to something that has been lost with digital, why are 4 track tape machines such sought after devices, when you could get an 8 track digital for the same price or less? it's not just the hipster factor, there is something deeper at work here, the process makes the magic
Damned right man. These up and comers today don't understand or know anything about what it's like to be limited and creative. Less has always been more, and still works after 21 years of making music. Don't ya just love this shit...SBN RESONATE
Something must have changed... Five years ago I couldn't give my Portastudio 414 away...
Great interview!
Love seeing the Metasonix module front and centre on Trent’s rack.
I love the fact that there is only one of a kind musician and that's Trent Reznor. A true and unique artist.
the beat at the end is fire!
NIN - Black Noise
I think the modular stuff is cool and all especially if you have the patience and I love the sounds people like Trent and guys like Vince Clarke are able to create, but I prefer to be able to recall/edit patches quickly and save everything easily so I'm much more happy with my NI, UVI and Arturia software and they all sound great. I remember back in the 80's when I and had my Pro-One, JP8, SH101, TR808 (wish I hadn't sold that gear because now its worth so much $$$) all I wanted was patch recall, midi and velocity sensitivity etc... I taught a lot of Ski School classes to buy my first DX-7 back in 85'.
Does it look like fuckin bells?
Kinda like cloud way way up in the sky and he was feeling something you wouldn't believe.
I could listen to Trent and Alessandro talk synths all day long.
Maybe Trent should try and make his own Synthesizer that would be a great piece of art seeing as how passionate he is with thier history and progression through the years
Thank you both.
It's so nice to see the man behind the man. He's so humble, so real.
I think this is the most I've heard Alessandro speak.
Trent Reznor has all of his CV quantizers locked permanently to minor scales.
*dorian
What a combo! TrentAlessandro keep going, please!!!
I think low-cost synths and VST are also a reason why modulars are back. These low cost entry tools have allowed more people to become familiarized with music synthesis. I'd love to be able to create a Modular rack but in all honesty, it is not monetarily viable for most of us.
once you've bought a handful of monosynths, you've already spent more than for an entry modular
You can always try your hand at modular with VCV Rack, a open source virtual modular system. It's free!
@@JinHitake Yeah, the Mutable Instrument modules sound exactly the same on VCV Rack as the hardware.
DX7 is a beast (if you know what you are doing)
This was amazing! Thank you! 😊
these guys are great !!!!!
I would love to hear from Trent on the subject of creating the music, but most importantly the sound effects to Quake.
// youtube knows when you are building synths from scratch - and who's inspired you the most.
Thanks for the inspiration! {
success = 1;
}
deepbass synth
It’s interesting how old this is.
In the time since this interview Korg, Roland and Yamaha have all released new boutique synthesizers and even Behringer...
Lol
Oh great, another video that makes me miss my DX-7...
Good interview
Perfect Summation. True on all points.
He's talking about PI Corp in Cleveland. It truly was a magical place.
God I used to work at Guitar Center in the keyboards section. We'd have amatuer hiphop producers bringing in floppies to save their work on our Korg Tritons, because they either couldn't or didn't wanna buy one. (not sure why anybody would want to) So I redid some Dr. Dre tunes on a Korg ES-1 on the other side of the room I had router to their speakers (at a much louder volume) You could cue patches on it to play after the current one was finished. So I had it start a silent patch at 20bpm with the dre tunes cued, to give me time to leave the room. That was fun to watch. Well thanks for listening.
thats pretty smart actually
Now they can just pirate the triton vst
1:04 Human League...early albums are brilliant
Inspiring!
It brings warmth to my soul to see Trent, cEvin and M. Gore rocking epic walls of 'eurocrack' I could never afford.
How much of eurorack warmth does your soul need daily to keep the warmth in your household intact and balanced ?
Definnately A Trent/NIN fan. Interesting to see him older looking like a middle aged married man/dad & watching him evolve w his music.
The dx7 is used masterfully by Brian Eno, but he has the accessory to it to shape the sounds
Very good interview
Allessandro & Trent, the perfect combination.
Yea i remember just staring at a Moog which was only like 700 dollars in Mexico. They didnt even let you play unless the owner thought you looked like had some cash on you. Now if you are interested in this you can Download VCV which is open source and free and start experimenting. The reality is that this S#!@ is still really expensive but the emulation got really good.
Ha. I remember him from Pi keyboards in Parma. I was synth geek in high school. Loved that shop but couldn't really afford anything.
From the title picture I thought Gerard Butler had went modular!
I remember that phase 3:20 felt like most of the late 80's and well into the 90's when I was just starting out.. i lucked into finding an Octave Kitten at a pawn show in kansas city, KS for $150. or my first synth, the polysix this seemed like the only way to get a synth that actually had knobs.. even if i could afford something new.. knobs were just not a thing for many years.. then i remember the DJ-X coming around.. and Roland's grove boxes started to get more knobby again..
Hey Trent, Jim T from the 70's and you first mix & recording engineer. Give me a call. Apex,NC
NC
Difference is craftsmanship 🙋🏼♂️
The real question is: Can you decipher the secret message on the tuner...
legend
Trent, you're the best!
I totally agree but like...the DX7 is all over early NIN
I realize this is very old but to anyone else interested, Trent has gone further in depth about the DX7 elsewhere. He doesn't hate it individually, he knows as well as anyone that the DX7 is and was a capable and actually affordable (for once) instrument for musicians. He also gushes about FM synthesis a little bit in other interviews. His beef with the DX7 has more to do with the impact its success had on the trends that came shortly after. Thats what he was really bitching about.
goodie of an interview!
Trent should hang out with Will Gregory and Adrian Utley, it would be incredible to hear what came out of a collaboration between them
Pure Genius...but I think the most important hardware there would be a solar panel....please continue making more music 🎶 🙌🏻🙌🏻
Trent is the man!
Alessandro is the man!
I think he used Reaktor on Year Zero
10:24 the tuner behind them is driving me crazy
If I were rich I'd be Batman or Trent Reznor
Trent would be a great batman tho !
Right?! He’s got sooo much equipment haha, hundreds of thousands of dollars at least
They’re like almost the same people lol
_"Quick Robin, to the oscillator cave !"_
Yes I had that all in one half ass Rolland 3630... but that's all I could afford.
OMG I just played a real Minimoog compared to plugins I had he is so right.
But the Bahringer Model D...I cant tell the difference.
NIN 🤘🏻🤘🏻🤘🏻🤘🏻🤘🏻
1:16 "Reznorated"
I’M SO GLAD SOMEONE ELSE THOUGHT THAT.
Im not the only one with that thought. Trippy.
Trent, return to your roots. Check out Pittsburgh Modular.
Nice, at least I have one piece of gear he does, the PGH oscillator.
A lot of truth to this!
I C O N .
Wow I love your style music And I swear I walked in your shoes. If I may be so bold Man in black
Smart guys
Alejandro Aranda brought me hear
I can to relate to monotony of Yamaha's shitty interface. Never liked them, but I knew the synth had potential. If the Jellinghaus DX7 programmer ever came to the U.S. it would have helped a lot of musicians.
I have to say I don't know so much about NIN, it's just not my music. But, what I find strange is how their music is so far away from these synths they're talking about. Maybe someone here could give me some suggestions and point me in the right direction of what to listen to (from NIN).
Closer
Early NIN albums was really synthy, especially first album
cardboardmusic Try Trent’s side project “How To Destroy Angels”. It’s him, Atticus Ross and Trent’s wife on vocals. It’s very good.
Nine Inch Nails - Closer plenty of synths in that song
if you mean synth-heavy works of his, you could try the songs Heresy, Closer, Into the Void, The Wretched, Starfuckers, The Big Come Down, Capital G, Zero-Sum.
most of his iconic original stuff is either on albums Downward Spiral, The Fragile, Year Zero and Ghosts I-IV (although Ghosts is very experimental) with some awesome tracks interspersed between other albums.
DOEPFER MAQ16/3 on top*
very nice one, yes. actually the first of dieters synths sounding good AND being stable. i bought one of his first modulars in 1985 or 86 when we had to solder the kits DIY. sounded pretty awful but never could be used on stage...
Alessandro Cortini is the only other member of the tour group who really should be a part of NiN. His knowledge of synths is insanity. Sure there are others too, like Robin but at it's core Allessandro fits the bill.
Is Robin still not considered a member of NIN?
@@Turk_2023 It's just Trent and Atticus.
What are split eights? I say the same thing about these synths, for me, I'm not worried about the piano or alot of the other sounds that everyone else wants to use. Me, I'm looking for the weird bell sounds with a choir on it, or a plucked reverb string, or something that no one else has ever used, and make it sound like something great, but weird and awsome at the same time. The deep brass/string like metal sound that you hear in the beginning and end of this is just my type of sound. Add that bell or plucky reverb sound that I mentioned with it, and you can come up with something out of this world.
it's a primitive digital synth
www.vintagesynth.com/sci/split8.php
thanks you for making our childhoods the best
Call of duty
treyarch
What?
What's that song playing at the start?
Derf Mungo Black Noise- Nine Inch Nails
Man he looks different
What is that lamp on top of his synths ?
Right?, I think one of the reasons his music resonates with myself is because his personality is similar to mine, as im sure a lot of people feel the same. that lamp is something that i'd own.
I want something vast and yet intuitive?
Hah don't we all?
Nice to meet you, Trent, i, m fan Manson
When he's blowing off instruments like the DX7 as being dumbed-down commercial fodder for the masses, I'm going to hope that he's talking about marketing strategy; not the instrument's capabilities, which are fucking immense. I can't believe this guy, who's presenting as some sort of authority on the matter, didn't take the time to figure that out.
That man has smashed A LOT of DX7s on stage. But yeah, the DX7 is capable of a lot, it's just it's interface made it so hard to realize that.
Zach Barnhart dx7 is awesome ,when programmed right
He meant that was the way he felt like at the time. Working in a shop with all these beautiful analog synths and suddenly there's the DX7 which at that time hadn't taken its place in history so you can imagine someone thinking it sounded like shit.
If you watch the video and actually listen to what he says, that is precisely what he's talking about. Companies holding themselves back to cater to an audience for money. "This guy" is at the top of his industry, influenced people for decades, and lived during the design eras he's critiquing. Who the fuck are you?
I didn't think he was referring to the DX specifically when he was talking about dumbed-down hardware. His comments on the DX was that it was pretty revolutionary. I think he was referring to a glut of consumer instruments that had a bunch of presets and limited editors that came out after the DX. At least that's what I got out of it.
Doepfer Schaltwerk.... ole faithful.
Is Trent a synesthete?
Apparently he is: ""I'm Looking Forward to Joining You, Finally" is a poignant nostalgia trip: at 0:32 Reznor's voice falls apart 'In a blur of serenity' whilst at 0:52 the line 'The taste of sunshine/I remember sometimes' speaks volumes about the distance between childhood memories and kinaesthetic-visual synaesthesia. There are more subtle touches that jump out on repetitive listens -- hypnotic flourishes at 1:16 and 1:54, bass overlays at 2:39. "I've done all I can do/Can I please come with you?" is an anguished cry signalling that Reznor has started at one place and ended far lower -- a healthy and necessary process of shedding skin to reveal the stronger human beneath, but one fraught with dangers. The music is less icy than previous albums, and is always teetering on the edge of collapse. "
@@dr.mikeybee Check out the lecture by V.S.Ramachandran from MIT on synesthesia / metaphor. Essentially synesthesia is a question of degree, not type.
Hail Reznor?
Messi!!!
Analog snobs indeed. As much fun as you can be having by getting a sound from scratch it’s sometimes not time and money effective. I think if it sound good, no matter if is and old Roland,OP-1, a sample a Plug-in. Anything. That’s the goal.
I don't see how having a preference for certain types of gear makes you a snob. He's using the gear that he prefers to use. And some of it is digital, too, BTW.
The path to that good sound is part of the process for many people. You could just paint with a mouse... You could just explore the world via Google Earth...
When you're as successful as him and your whole career has been music, I feel that it's a natural progression to accrue any tool for the job. You also don't need an auto shop to repair a car, but it certainly helps.
@Alexandra Senna At the end of the day it doesn't matter what produces the sound or how you get there. When it all boils down, it's a story you try to tell filled with emotion. That's the end goal. It doesn't matter whether that story was written with a quill, a pen, a typewriter or on a computer. It what's inside that story that matters. Some prefer to write with a pen, others do it on a computer, some even use both. It's a matter of preference. Calling them snobs, makes you come off as an elitist who knows the one and only way to do things, which is downright ignorant, in my honest and humble opinion. These guys are artists and they prefer to do it their way. That doesn't make them snobs, it makes them master of their own craft, they know their tools, they know how to use them and most importantly they are happy doing, what they love to do, are you happy doing what you love to do? Have a magnificent day
@Waveshaper Media Thank you for explaining that. Holy hell I thought I was going to have a stroke when I read Alexandra Senna's comment. They literally said at the end of the interview "whatever floats your boat" and she comes away from that calling them elitist snobs haha. Well, if you had a massive following and were able to afford those modular and other high end synthesizers you'd buy them without a doubt. That's you literally closing your mind off to an idea because you find it elitist in some manner even though they use all of the same things you mentioned in your somewhat lazy comment Alexandra. It's sad that you think being able to afford a modular synth makes you somehow out of touch or an elitist. What a shame. For the record I agree with Ms. Senna on the use of all available gear/DAW/plugins/samplers but at the same time, so did Trent, Alessandro and Waveshaper Media so again, what was your point? Good explanation Waveshaper Media!!
Producing with plugins definately Sucks doing with a Mouse 🤦🏻♂️ Click Click Click Click x100000000000000 👎🏻
It's all about the money though
I know it might sound weird, but you two synth nerds sound ready for a collab with Andrew Huang...