Why you (probably) shouldn't buy old digital synths
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- Опубликовано: 18 окт 2024
- CONTROVERSY! Well not really.
I think everyone should buy the gear they deem to be the right for what they do. I just want to warn you about the downsides of buying old digital synths so you can better decide whether or not it's right for you.
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The biggest reason to buy a DX 7 would be that I couldn't when I wanted to back in the day.
iOS KQ Dixie...
@@jfn467 iOS is a no go
Yes I know same here.
That’s like all music gear for me. 😂
@@savoirfaire8979 I wish I could buy back all the gear that I had to sell from the start.
While I agree with you almost 100%, my buddy grabbed a DX7 FDII locally for about $350 and I was shocked to hear it in person - relative to the emulation Id been hearing. (Front 242 punchiness really came out of it). Unsure if it's the ancient AD/DA's in it but it def has a charm. (can't believe I said that about a digital synth). The same goes for the Ensoniq ESQ1. Stunning in person. Unsure if Id buy one today though.
1992 - "you're paying $200 for a minimoog? they're only worth $100. they only make one sound, can't play chords and they won't stay in tune. and $400 for a Jupiter 8? you're nuts. they don't even do a good piano!"
What ? 400$ for J8 !!! 3-4 years ago , Man asked around 9000 , today $ for it in Croatia !
Nah, jp8k we’re never cheap, they were waaay cheaper but never cheap
@@WalterGalindo plenty of stories of $500 or less for JP8s, prophet 5s, OBXes and memorymoogs. when workstations came out, old keyboards with knobs were obsolete. hell, I could have bought a "new" clav D6 in 1996 for $300. couldn't do that today.
@@connor_flanigan A keyboard sales tech told me he found a Minimoog in a lady's basement and bought it for $50. But I was a college student and I couldn't take advantage of the prices.
You are missing the point , the reason why a person buys a d50 hardware is the fact that the DAC on it is very specific and makes it sound a certain way a computer with soundcard can't fully emulate, a vst is an approximation of the sound , you can only argue if they want the real thing or an approximation wich is a different discussion, plus a pc + software license + midi keyboard will set you back a hefty amount more than a secondhand d50.
@@cnfuzz that sound that’s it’s making through the DAC is what we used to call noise.
I’ve been buying synths since 1977, and I can verify this:
Whatever nuance you think you’re getting will only be evident in a recording if that synth is the ONLY thing in the mix. Once eq’d, effected and balanced properly, the only thing missing is the noise.
But, what do I know / I’ve just been using synths since 1976.
Yes, whilst the computer is technically more advanced it is not a musical instrument. You can't just flick a switch and start playing the keys, whilst you might flick the switch on your computer and you may have to upgrade your operating system and then your software synth etc etc.
I wanted the D50 for the wrong reasons, to get great Hammonds and electric pianos out of it, I had 4 of them and today I detest the D50 and wouldn't take one for free. I do have 4 DX7's now and I love programming them, trying to get those curiously unique FM piano sounds not available on any of the new stuff because it's so organic
I have a D-05 and I'm already getting worried about whether I could get it repaired once something fails. I'm not so much a fan about VSTs, and definitely hate subscriptions.😂
Definitely agree. With any electronics gear, batteries leak, encoders go bad, and worse yet, custom IC's with no replacements go bad. In fact, every new electronics gears of today will be broken with no way to repair once enough time has passed. On the other hand, my all-mechanical Nikon F and Leica M cameras from 1950's are still working just fine with occasional maintenance.
@@halo_nucleus the old mechanical cameras are works of art for sure. I have a Pentax K1000 and it still works just fine. I do fear though that in time the people capable of working on these cameras will be harder to find and more expensive. But so far it's definitely more doable than electronics 👍🏻
Let's examine the argument put forward here.
Batteries leak on analogue synths too. Invalid argument.
And pots go bad on analogue synths too. Invalid argument.
And most "analogue" synths these days are not 100% analogue, containing numerous chips.
Another Invalid argument.
So, what does that leave us ?
Well, custom ICs.
Sure, ***sometimes*** these fail. But not all of them, and not all custom ICs even in the same synth.
Basically, what you're saying is unless you only buy analogue synths pre-1975, or very, very basic Eurorack modules, something might fail in 30-40 years time.
Bit of a nonsense argument.
@@2112jonr Never said any of the things you said. I said any electronics gear. You need to learn to read first before you start nonsense arguments.
@@SyntheticFuture K1000 is a great camera. I think people will be able to repair mechanical gear for a long long time. Film production though, not as sure. Fortunately I have enough stock in the freezer to last me a lifetime…
As much as I sought out an SQ-80 when I re-started buying synthesizers mostly for the sound and polyphonic aftertouch, I worry about those things (even on the holy analogs). I also worry about current synthesizers being harder to repair due to the SMD boards or having rare components, like odd-size sliders.
You really have to love old synths to invest the money. You're spot on about your advice. About 10 years ago, I bought a jx-3p at an auction. Of course it didn't work when I got home. Too many rum and Cokes spilled on the keyboard. I was able to bypass the key bed traces with ribbon cable and got it working. I still have to disassemble it periodically and clean the contact surfaces on EVERY button including the 66 keys.I still love it, but would rather have a new one. In 1988, I had a chance to buy a d-50 for $700 not knowing what it was. Thought it was too much, so got a $350 Casio instead. Regretted it ever since.
I agree with you. When you buy those 20-30 years old synths, there will be problems. Typically, it’s the electrolytic capacitors that need to be replaced and coin cell batteries. If you replace them before they leak, it’s not too bad, but if they leak the repair cost goes up exponentially. Also there are keyboard issues that are quite common. I bought a Korg Radias recently and had to replace the volume potentiometer because it was scratchy and had dead spots. Plus one of the button no longer worked. Fortunately I’m good at soldering and de soldering electronic components so it cost me around $15 for the parts including shipping but it took me about 2.5 hours to do the repair because you have to dismantle the whole unit to have access to the control board where the defective potentiometer and switch are located. So to pay a technician to do a simple job like that can cost $300-$400 easy. So if you can’t do basic electronic repairs yourself buying those old digital synths is usually not worth it because their value on the used market is too low to justify such high repair costs.
Still more reliable than a vst that can literally disappear without warning.
Your opinion will not be popular among “a certain romantic synth user”, but you’re dead on right.
Your right... I've got loads of vst in my Mac and I've never used em.... actually I never used the Mac!
I’ve compared the cloud version of the JV-1080 with tracks I recorded using the hardware version back in the day and hardware version sounds better to me. Wider frequency response and stereo imaging. The old analog signal path and DACs apparently added some magic to the sound.
Replying to my own comment, I agree that software is certainly more practical, and once you insert an EQ and imaging plugin, you’ll probably never be able to tell the difference in a mix.
Indipendent developers are making open source vintage digital synth software emulators like Dexed and the DSP56300 emulator that can emulate the Waldorf MicroQ, all Access Virus models and the Nord Lead 3 and Microwave II coming soon. Prices of these hardware units were high at the time and they are still going up on 2nd hand markets and their maintenance is a nightmare considerating the SMD components inside...
I disagree, im taking my Roland V-Synth to the grave with me.
I keep being tempted, because of the testimony of people like you. I might pick up the rack one day and see if I have the same experience once I get used to the interface.
I’m on my second Korg Trinity, the software versions don’t sound the same at all
There’s no software version of the Trinity.
I don’t believe Korg makes a Trinity plugin.
"If you just bought the cloud version of the D-50." And in that one sentence, you've outlined exactly why it would be worth owning a real hardware unit.
1. You cannot BUY the cloud version, you can RENT the cloud version. Once you stop paying, you can no longer use it. And if Roland suddenly decide that "You know what? We don't really think people should use this old crap anymore, we in fact feel that they cannibalize sales of our new gear." then suddenly it might be taken offline.
2. Bringing a computer, a midi keyboard and an interface along to somebody else's house, may not be as convenient as bringing just a keyboard. Bringing just a laptop, sure, but a decent laptop costs as much, if not more, than a D-50.
3. Sometimes, limitations foster creativity. Turning off your computer, and just sitting there with an actual instrument, can quite often be much more inspiring than twiddling a mouse in a DAW. Sure, once you've come up with a basic idea, working it into a complete song is often best done in a more versatile tool, like a DAW, but for the creative process of actually coming up with the ideas, being limited by an instrument, will often make you explore things you wouldn't if you have every option available to you.
If Roland reintroduced the non-cloud versions of their VST plugins, and charged a fair price for them, I would happily get the D-50 plugin, but currently, that unfortunately isn't the case.
Korg sell individual plugins that require no BS cloud logins or similar, and they are often on sale, so I've actually happily set aside my dreams of a Wavestation and M1 in favor of the plugins.
@@rebeccaschade3987 you can straight up buy a license. The price is arguably steep (like I mentioned) but it can be done.
The problem of online services is indeed that they can be ended at any time by the hosting party. But that goes for all software by any party. That's the curse of "software as a service" and yes it's far from ideal. In the end anything with online authentication will only work for as long as the companies or hackers want to support the product.
You could argue that potentially you could keep a hardware unit alive for a longer period of time than Roland will host its services. But that's attempting to guess the future. 40 years is already fairly old for electronics. It will only get harder or more costly to maintain these synths the older they get.
@@SyntheticFuture And it'll work without a cloud account? I looked into it before, and from what I could see, it's not possible. And as long as you need a cloud account, you'll always be at their mercy.
@@rebeccaschade3987 right. Like I said: that goes for any software that uses online authorization. Which sadly is most software these days.
Technically no different with Google or RUclips. If they cancel this service all videos will be gone. All your mail will be gone, whatever is on your drive will be gone.
But at the same time: if your DX7 power supply fails criticality it may very well be beyond repair as well. At least financially.
I'd love to go back to the old school "buy a disc and own it forever" attitude but those days are long gone I'm afraid.
@rebeccaschade3987 Hey, you can definitely have the D-50 offline and all yours, it's only linked to the Cloud for your account for updates, if you want to update it.
What Rebecca said, and not just the Sub model arguments. That said, I will add to that argument, that it's worth opposing on principal alone, no matter how many defensive caveats are levied.
I watched this the same day that I did a thorough comparison of my hardware synths & drum machines versus some VSTs. One of the comparisons was between my Korg Triton Rack against the Triton VST. The hardware crushed the VST in the technical, in depth sound comparison side of things. On the hardware side, I found out that every sound/waveform generated is different (even if it's a digital unit! has gotta do with all the components and A/D conversions going on inside the box), sooo different that I can actually stack up two recorded audio files from the Triton Rack of the same preset with same setting and velocity , pan them left and right and it becomes a stereo track with interesting movement going on! :)) Whereas on the software side, duplicating two instances of Triton VST to do the same thing only added more gain without any change in the stereo image cuz it's the EXACT SAME WAVEFORM/AUDIO EVERY TIME! You can see this kinda problem present in many VSTs, not just free ones! One reallyyyy great sounding (and free!) VST that doesn't suffer the same **** would be Vital by Matt Tytel. Tho when it comes to "who's gonna notice it in the mix?" or the average listener's perspective , the difference I mentioned here becomes a bit irrelevant
But I'm not against VST. I still use it. Me, like most Gen Z music producers got started with virtual instruments. Total recall of settings and presets, multiple instances of the same thing, no need to bother with cables and having to clean it from dust. It was all fine until OS updates screw almost everything (even the DAW) , and then I gotta "register" again a product that I already own (iLok anyone??). Even today I was going to open up the Surrealistic MG-1 Plus by Cherry Audio (which I hadn't opened up for a long time) and ofc it's telling me to login again and I forgot where I put my login credential. -_- . All these license-related problem makes me feel I don't really own these softwares, well ofc cuz what I really own is just the license to use it. With hardware? Besides I do really own it, me just taking it out of the studio, going to places, cafe or outdoor, turning it on and just simply playing it is really a vibe of its own and can spark new inspirations you can't get when you just clicking with mouse in front of the screen.
I have lots of hardware and lots of VSTs and I always without fail have more FUN with the hardware. It's just more romantic, tactile and inspiring to use for me
Considering what the chances are that anyone besides your friends or family of ever hearing your music, you should buy with what you like to use. It’s about the experience of creating your music. I own tons of software synths but almost always use the hardware.
I must disagree with this. Just because a synth is digital does not mean we should replace a digital hardware synth with a vst. I have no plans on replacing my Waldorf Q or XTK with Waldorf’s latest synths.
Even Romplers like Roland’s JV/XV series are great.
You make some good points. My DX7IID works just fine (today!), is a nightmare to program of course and the keybed isn’t great, but for £400 it wasn’t a bad purchase. It’s fun to own a little bit of history I had wanted for 35 years.
I totally agree the only one I would ever consider is the Virus 2TI but even then parts will be very scarce so I think I am gonna stay with new stuff….
Virus C is the better choice, its not dependent on software that doesn't really work any more.
It's what happened to me with the Korg M50 now, has a capacitor problem and often locks up, now have the Krome Ex. Do kind of want the actual M1 given sounds were often used in big hits of the 90s however have got it within the Korg Collection as a software program, apparently it doesn't do all the M1 itself did but it's quite a good solution. I am wondering now about loading Korg M1 sounds into the Krome Ex.
I loved my D50
@@stevea8099 it's a great synth for sure. It is everywhere on my channel and promo material for a reason 😁
I used to have a sq-80 amazing sounds but it came with problems that i could have fixed warm battery,midi problems,keybed but one day it just didn't work the chips inside probably got corrupted.
Cycles in a vintage synth are short and only doing one things , the sound. Your computer is doing many things like checking email and redrawing the screen. Also the D to A converters are very different in a digital synth compared to a sound card. I have had many top synth since the 80s and PC software can copy what its doing but the sound is different.
These old digital synths are just going the way of retro computing, a potential time/money pit of third party addons, FPGA replacements for chips etc. You can still have a lot of fun of course but the upkeep is a part of the hobby too.
@@hellcoreproductions and if you are okay with that being the price it's fine really. As long as people have the awareness that this comes with the hobby 👍🏻
For the most part I agree. I started making music in the mid 90s when analog prices were beginning to climb with steal-deals becoming more mythic in character, but early digital synths + samplers (and even VCF hybrids) were accessible to teenagers-who also happened to be the people most likely to sink the time and dedication needed to chase down cool sounds through a subpar user interface running on the same processor as the C64. So that is the center of my own musical nostalgia, tied in with albums like Pretty Hate Machine, Violator, Too Dark Park, among others. And a big part of me still wants to follow the same vintage gear aspirations from 15-20 years ago.
BUT I’d usually try to offer the other perspective to a young person today who believes they need a vintage ROMpler to have vibey vintage ROMpler sounds. Especially if they don’t have particular kinds of sounds in mind and aren’t specifically invested in doing old school digital patch programming.
Some devices have unique sonic and/or control possibilities and/or go about things in unique ways-e.g. Kurzweil K2x00 series, E-Mu Morpheus/UltraProteus, even the Roland JV/XPs, Yamaha SY77/99 and FS1R, and basically every Ensoniq. Those are exceptions, and are nobody today’s first synths for good reasons. But other than Roland, these haven’t been totally superseded by software, and can’t be precisely emulated or sampled without losing control over those objects of character. But the “right people” for owning that stuff to actually make music with are likely a pathetically minuscule number. So I’m confident saying that nobody needs to buy a Roland U-20, unless they want to capture the whole sample bank to share for the future. Even the most basic streamlined vintage digital can be SO much hassle and often in unexpected ways. 4-6op FM synthesis has been done and redone in so many different iterations, many of them with much better interface than the original Yamahas. And so it goes.
I still can't part with my cs1x, I know it's a rompler but it's sounds lovely
I love the arguments that are nothing but opinions but then are called "truths" or "facts".
Korg OP-6. More powerful than the DX-7, more waveforms, realtime controls. Internal- literally a Raspberry Pi. Some of the hardware capabilities vs. using a plugin are accurate- can't take away access to the hardware. Hardware doesn't stop working when manufacturers no longer support the 8-bit OS that the plug-in ran under. Like owning a vintage car, owning vintage synths requires knowing how to do repairs, or the contact info for a great repair tech.
Back at the beginning of the 2000s when my synthesizer mania began, I did one or consider getting a few of these models (DX7, D-50, SY-77, DW-8000). There were even a couple of instances when the possibility emerged that I could have one, but I didn’t go for it. It wasn’t because of the practical reasons mentioned here as much as price and timing. I suppose I should be thankful I didn’t plunge in and get any of them. Earlier in 2024, I thought about getting the SQ-80, but I changed my mind.
Totally agree. people buy these units not understanding they need servicing and often spend far more on bidding wars to get them only to end them up as landfill after they go wrong.
I’ve sent about six to the landfill so far 😕
Now that I've gotten used to the sound of analog equipment, I struggle to enjoy the sound of my old digital equipment. It feels flat and lacks presence. The tones that come out of the analog gear are more limited in many ways, but it takes a lot of work to do anything digital that isn't totally dominated by the simpler but less static digital sounds.
The VSTs we have now are insanely powerful and have access to so many parameters and such robust code that they sort of sit somewhere in between.
They can definitely carry a track, but they still feel a little cold
The following I’ve had for years . -korg poly 61m mint.. all I’ve had to do was change the battery……once.
Did it when I first got it ... Have had it for years with no problems.
-Roland jx3p mint .. never had any issues hasn’t died or needed any repairs. The Trusty Dx7 mint … no issues outside of a cheap screen light replacement. Not sure where all this cost to maintain vintage synths is coming from .. the bigger money pits are things like a Jupiter 8, prophet 5 (I have ) and vintage Oberheims .. those can be money pits! theres vintage analog and digital synths one can own with no serious problems. . Key word is own … not rent from a cloud service throwing your money away. There is also the tactile feeling. It’s funny people say it’s “ nostalgia “ to own one .. all while “owning” the vst. I guess we both have nostalgia then lol 😆 it’s all preference . The sound quality argument I’ve learned to leave alone… you usually end arguing with people who don’t own a synth. I say own whatever makes you a happy and most of all make music. The end user won’t care what you made it on
I have old Kawai K1 (older than me actually :D). It has it's flaws, some bad contact in keys and buttons, higher noise floor than computer. There is a software version called Nil's K1v which sounds pretty much the same (minus noise floor and little differences in mapping of certain parameters) which is also freeware, but I like my physical synth and I use it as a MIDI controller too. I do not consider it waste of money and I actually bought it after I tried software version and liked it's sounds.
A good point. I have 2 x U220's and havent used either of them in over a decade.
I've played around with a software version of the DX7 and compared it to my DX7 IIFD. Almost every sound with the software version was clearly not a DX7. They were close, but no cigar. The software version lacks brightness in almost every sound. The software version also doesn't have the harmonics that the DX7 has. To my ears, it is night and day. It was so bad to me, I never played with the software synth ever again...I prefer the sound and quality of the sound of the physical DX7
@@ekummel and you have every right to prefer the hardware. If the trade offs are worth it for you I'd never tell you to not go for the hardware =)
I do wonder how much of that difference would remain in a mix (especially when using a mix of synths) or could be compensated with some EQ. Although if it really lacks harmonics an EQ is not going to do the trick.
As someone said, programming the DX7 is like painting the interior of your house through the letterbox. I prefer FM8 or Opzilla for ease of use and in a mix no average listener will be able to tell if it's software or hardware.
The keybed of the dx 7 (and D 50) are pretty great
Computer have CPU issues
The question is WHICH software version of the DX7 were you using? I think the Arturia one is not very accurate. There is the chipsynth OPS7 where the developers invested great efforts to make it as accurate as possible, they even reverse engineered the DX7 hard- and software. Also the Steinberg Halion 7 has a "FM zone" from which many people says it's very good as it was developed in cooperation with Yamaha and apparently is more or less the same as the FM-X engine in the Montage.
Edit: I forgot to mention that additionally, you can also use the OPS7 to edit the DX7. (Or Dexed. But OPS7 sounds better :) )
Use it or lose it. The reason why synths die is because they're not being used.
100%.
Ok, if you want a DX7, D-50 or M1, than you might as well use a VST. Even the Roland JV-1080 or XV-5080, the PPG Wave, the Synclavier and Fairlight all have good VSTs now. But what if you want the unique DSP on a Yamaha EX5? Or the time shift capabilities of a Roland V-Synth? The fact is that there are unique older digital synths that don't have VST equivalents. Sure, they could be ported to VSTs (probably), but they haven't been yet and may never be. So, if you have a good VST than don't bother with the old hardware (this applies to most analogs too). But there are digital synths that you might want for legitimate reasons other than nostalgia.
I like old digital synths. Some of them anyway. Old Kurzweils are cool (like the K2000 maybe). Some old Yamahas and Korgs and Rolands are also pretty cool. But yeah I hear you. The thing is though it may not be as straight forward as just porting the code though. Modern development environments are all floating point math. Old synths from the 80s might have been fixed point math. That's actually probably where all the bodies are buried when people talk about differences in modern versions of old digital synths. It's pretty hard to emulate a fixed point environment in modern floating point. Cool overview though thanks.
Be careful with Kurzweil's especially the K2500. After a certain period of time they sort of loose their mind and they become impossible to repair. The K2000 is better in this regard but they changed the way the OS was updated in the K2500. And in doing so it has the very real potential of failing and not being able to boot up etc..Its due to a lot of reasons but it is classic example of a synth that could set you back quite a lot of money and play and sound great for a while but there is a very real potential there for it to fail in time and never be workable again. It will end up in landfill for sure.
Cat puked on my Korg Poly800 earlier this year. I cleaned inside to the best of my ability, but for a couple of weeks, it sounded amazingly weird.
Sadly, it works normally again now…?! 😂
(& yes I’ve invested in a high quality cover for every instrument I own!)
There are of course some digital synths that don’t exist in today’s plugin world. I used to own a VFX, and ended up buying a used SD-1 in order to recreate some old tracks. None of the modern day digital synth emulations could get me that same aggressive sound.
I love Roland rompler
The shitty part is
I can’t find the expansion card I wanted anywhere.
I disagree, the noise of those is clearly unnoticeable, the D50 has a 24bit dac, even if the DX7 is using custom register dac a bit noisy, the tx81z or tg77 are quiet as hell, very few digital synths are clearly noisy, also you confuse regarding the power, although they often use very slow cpu as system, they come with several integrated chips, try to vst A tx81z fully (eight part)+D110 fully (9 part)+a D50+DX7+JV5080 32part+SC880 32 part, and i think that if your 13700K can handle this, you couldn't barely add something more, using hardware outside daw let you use the processing power for effect, and clearcly that's all you will do with a 48 channel motu 25mghz fully loaded on cubase!
One thing I didn't see mentioned, is the noise. Old synths don't produce clean sound.
I loved my Roland D50. It was simply very practical on gigs for someone who wasn't an expert sound creator. Eventually it became unuseable.unusable. these days I pretty much only play an acoustic piano.
The roland d05 works with the controller, hAs all the sounds and works. The d50 does fail often. Why would you by the d50. Because you want keys? I got the alpha juno 2. The d05 sleeps on it fine. But then you will need a second pg controller so you can tweak both 😎
The D05 I will say sounds as good as a D50, but it doesn't sound the same on the same patch. It's like a non-byte-perfect emulator that gets the code working but doesn't behave in the exact same way. This would probably make it superb for layering with a real D50/D550 on the same patch
Amazing video BRO♥♪
I can hear the suddenly hyperventilating masses typing furiously to try to dig themselves out of their sunken cost fallacy from the title of this video.
@@arryaxx263 imagine the value of a DX7 if there's only one working unit left... Maybe this entire thing is just a scheme so I can be that one person 👀
Or... Maybe it's just sort off what it is 😅
@SyntheticFuture it's the 2nd most built synth ever and as a testament to it's toughness i went to a nine inch nails gig in 1991 where he tried to smash up a dx7 with his guitar, he failed ( either he has no muscles or the dx from 1983 is extremely well built).
@@cnfuzz they definitely built them differently back then. I feel like I could snap the JD-XA in two with my hands. And I'm anything but strong 😂
What you are missing in your analysis is that those synth are not pure digital at ALL. They have a digital to analog converter which change the sound a lot. Pair that with a good preamp, and the difference is nignt and day. I was once a pure PC composer, thinking digital synth had no place in the modern age. Boy was I wrong when I started to test myself with waveform analysis, null test, spectrogram and all that. There is a WORLD between just running the same fm engin of a dx7 on a computer and a real one.
But to be fair, companies are slowly realizing that as well and are making a big effort to emulate the "poor" analog convertion to give you a more authentic sound, but they are still missing preamps.
In a pure A B test, I'm 100% certain anyone would much prefer the sound of a m1/dx7/d50 through a pair of neeve preamp than any software that are emulating them.
And last, if you do a bit of research, pretty much all digital synths have community made vst/program to control them really easily. Edysyn is a beast for PC. There is also one for mac which i cant seem to remember. Nothing a google search won't give you tho.
It's human nature. It's nostalgic - one wants that physical object you had fun with, or you coveted but never owned.
Or…..maybe just maybe people like the tactile feeling of recording instead of using a daw and vst for every single thing. Just a thought
@@electrowayne2918- the tactile feeling of using an actual instrument does it for me.
Apparently Jean Michel Jarre used the D-50 extensively on his Revolutions album.
Sounded like (sh)it.
Do I hear a Dutch accent?
Thou art hearing zaa dutch accent. But great vid nonetheless.
Its the JD-XA i want......... ;)
Any digital synth is best owned with native software
Everything is better with real hardware. I recently bought an Akai S2000 sampler, who even uses those things anymore ?! 😂
I bought an old Yamaha A3000 sampler a couple of years ago. It has a loop remix function that throws out amazing results.
Some companies are reissuing them in hardware anyway in one form or another.
Roland JD800 is not a cold sounding instrument all the time. It can be but its also one of the fattest analog sounding synths you will ever hear also. It is exceptional like that. So is the Kurzweil K2000. Its an all digital instrument but it excels at doing all analog sounds too. Ideas exceed all of this talk anyway. A great idea using any instrument will always sound much better than a poor or mediocre idea on an all analog setup.
I hope nobody who wants to buy an M1 sees this video until I've sold mine. ;-)
@@SandyZoop fingers crossed! If they do and try to low ball you let me know. I'll send the a message that it was just a joke 👀🤭
me with roland g1000 and korg x5d...
Oh buddy. I am so guilty as well with a D-50 / JV-880 and JV-1080 😅 There's no shame in making a mistake or two, as long as you enjoy it. Consider this more a cautionary tale for future potential purchases :)
Anytime you get the keyboard version of something, the sounds will have the intended response from that specific keybed. You also sometimes have product- specific front panel controls like the vector stick on the D-50.
I am a dawless freak. ❤
Also, when you're saving a patch on a digital 80s synth and if it shuts down during the operation their's a chance they can get corrupted.
The software versions are better, but live hardware is better.
i am such a arturia shill that i genuinely believe their vsts and other effects plugins are a immensely better investment than even one hardware synth
good luck on finding a D50 in good condition with a PG-1000 for $1000 🤨
@@jessihawkins9116 it's going to be very region dependant but in Germany it's doable. Checked it before hitting record. Or things must have changed a lot in those few days 😅
@@SyntheticFuture I paid almost $900 for my D50 with padded case and another $850 for the programmer so you don’t know what your talking about 🤨
@@jessihawkins9116 I paid 450 for mine including a memory card. No case. And I've seen programmers go for 500-600 ish when they are around. You can buy a new Dtronic DT-1000 for 499 ish.
There's a fair few working D-50's on Kleinanzeigen right now for 500ish. Some with some minor surface damage but still perfectly functional 🤷♂️
If anything what you paid makes the argument to not buy one even stronger imho.
@@SyntheticFuture I’m not talking about an aftermarket controller. I’m talking about the factory PG-1000 🤨
@@jessihawkins9116 620. Pair it with a 450-500 D-50 and you are ever so slightly over 1k.
www.marktplaats.nl/v/muziek-en-instrumenten/midi-apparatuur/m2121521968-zeldzame-roland-pg-1000-programmer
I am going to put it much simpler for people. in 2024 ALL you people need to do is purchase these completely libraries of,
Native Instruments Komplete 14 collection
Arturia V complete collection
Korg Complete collection
UVI Vintage Vault 4
UVI Synth Anthology 4
U-He complete collection
Spectrasonics Omnisphere 2.8+ collection
Spectrasonics Keyscape collection
After buying these collections, YOU do NOT need anything else, besides SERUM itself. 🤷♀
You would have a plethora of amounts of synths and sounds to create any type of music imaginable to last you your entire lifetime. 😉👍
With the exception of being an Orchestral producer, then you would need Orchestral Libraries. But the rest of mere mortal humans creating regular music, it's all you need.
@@TwstedTV I'd go as far as saying "pick any 2 of these". Having too much choice only slows you down in the end 👍🏻
@@SyntheticFuture
It depends on the musician and producer.
Because it depends on what you need. Some musicians & producers only create music for 1 style or type of music, while others are variety musicians & producers and their range is much larger.
So it depends on the person.
Also with collections the price tends to be far cheaper than if you were to purchase it individually. Also always wait for Black Friday and Cyber Monday holidays to get great prices. Its better to have it and not need it, then need it and not have it. 🤷♀