This channel is the gold mine of classic stuff. I mean it's like unbox therapy but it's for musicians. The synth is pretty neat too, jam at the beginning was pretty amazing.
@@markus6409 appreciate what you wrote. well, let me tell you I wrote it, I love to watch the reviews of synths and drum machines and this channel has so many of them and some of them are very unique to me because I wasn't aware of them before I watched this video, it might be usual for you, but to me it was something that I saw for the first time. and when it comes to making music on my own, hear me out, I'm learning it mate, sound designing, different effects, mastering track on the other hand learning music theory too. the afx logo is my favourite because I like his music so much and I'm trying my best to make a track like him, which is hard ( atleast for now, because I'm a beginner ), but I'm hoping to make it someday. currently I'm making breakbeats, dark ambient, techno and drill & bass.
loopop is also pretty good for that - I often turn on one of his videos when I need get an essay done or something. I don’t know, maybe it’s the “hi, this is ______” at the beginning of the video, but it feels like he’s showing specifically *you* this synthesizer.
One of the only "pure gear" channels that I respect and enjoy. Its so nice to hear a passionate, talented, and informed person make it about the synth and not themselves or some non gear issue. I was pondering the Voltage Lab after Richards live stream last week and now after knowing how things are done- I will be adding this piece of kit. Great job and thanks for your awesome channel.
This is super cool. I imagine id just spend a bunch of time making sounds, not really understanding how to use something so complex, but still having fun anyway.
I know a million people have done videos on the Mutable instruments modules, I would love to see you do a video with the way you go through an instrument and explain things and your process. Great video btw!
I'm really fascinated with the oscilloscope and how the wave changes everytime you tweak something, not really sure why I find it enjoyable, but I wanna see it on videos like this. Great video as always, looking forward for more.
This is an interesting complete system, and I feel could be a good initial foray into modular synths for anyone unfamiliar but looking for an already complete system (and can afford it). However I would say such complete systems that can do equally unique and future-thinking synthesis have been around, not only the Buchla but also Make Noise Shared System (which is actually a lot more unusually quirky than this, for better or worse). Also pretty expensive. Personally I always recommend that if someone wants to get into modular that you skip the complete 1-brand system, get yourself a rack and build with modules over time. It's an expensive world to get into but at least going slowly allows you to learn and appreciate every building block as you go, getting to know them in great detail and fully exploiting every possible nook and cranny - but also one of the great benefits to modular is that you can mix-and-match according to your own aesthetics, learning what you like and don't like, which a system like this would make hard to do. I see screws on the panels, and they appear to be of a standard Eurorack size, and I assume these use standard power cables internally, so most likely you could actually swap out for other brand modules if you wanted, or you could remove these and add them to a larger Eurorack case. All that said - and I don't mean this to dull anyone's shine - but it is a bit of a marketing stretch on their part to say any of this is super unique or the future, in that many of the tools and utilities have existed in Eurorack anyway for the past decade. What's nice is that it's a great all-in-one-package with a fairly intuitive sequencer at the forefront. But many modular synth manufacturers have created so many unique oscillators and voice types, with all kinds of wavefolders and modular sources that you can create wild ring mod + FM effects, and pair that with something like an FX Aid, filters, and sources of modulation, and a touch-strip sequencer (look up 0ctrl and Rene, they are smaller and less intuitive but likely as if not more complex) and you can basically do this kind of thing on any Eurorack system to varying degrees based on size and what you're willing to spend.
To me, this sounds different from the other systems mentioned. I do believe the implementation of analog center clipping and variable height additional pulse wave stepping is unique. Take a look at this video fir an explanation: ruclips.net/user/liveJ5af6sjOn-A?feature=shared The dynamics controller is going to sound different from other designs that eschew vactrols. The sequencer UI and the synth’s UI makes it fun to play live, and the sequencer is surprisingly deep. The fun factor is the reason this could be cool even for someone who already has everything, especially those of who prefer analog and digital wave-shaping in all its forms.
@@geerhoar sure, one could look at any number of modules and say this or that is unique. To my ears, this is still largely subtractive synthesis at its core. What Mutable Instruments did for example with physical modeling, and other modular companies like MakeNoise and NoiseEngineering, to me those voices are far more like "whoa - that's different." With subtractive-based oscillators, feeding their waveforms into sources of modulation can create all kinds of audio-rate FM and sync wackiness so based on how you patch, the sonic shaping options are basically infinite with most of what Eurorack has to offer. I have no issue with this system, I just feel often with these all-in-one systems that the target audience are first-timers who want something complete to start with. I just usually feel the DIY route is a lot more versatile - and also as a general point of advice to anyone, individual modules are way easier to resell on the used market than complete systems, so as an investment they don't hold their value as well. I haven't looked up their website but I am also going to guess that modules which comprise this sytem could be purchased individually for general Eurorack users?
Great synth and very nice demo video but as mentioned at 1:30 and 7:23 it is NOT "fully modular" since you can't move/replace/rearrange the individual functional sections. It's a fixed architecture semi-modular without normal'ing.
I can’t help but notice the first oscillator’s sine wave is rounded on the positive peak of its cycle and more sharp on the negative peak. I bet that asymmetry helps make the wave folding sound cool and unique 😊 I noticed the EMS oscillators from the 70s had a similar asymmetry, compared to eg classic Moog oscillators of the same vintage which are a lot more symmetrical. Also I must admit, as much as I respect the Music Easel the Pittsburgh Modular approach of adding a few “East Coast” techniques to the mix really, really appeals to me. However I really don’t want to get into modular, I’m still exploring a couple of my hardware keyboards. But I’m tempted to try it out in Signal Sounds (if they have one).
Yes, from the manual: Center Clipping Expanding on a concept mentioned but never implemented by Don Buchla, the Voltage Lab 2 introduces Center Clipping and Automatic Gain Control to analog synthesis. Center Clipping is a method of shaping a waveform from the inside out. Independently pulling the top half or bottom half of a waveform toward the middle. The process looks like the waveform is sinking into the center of the wave, while the rest of the wave remains unchanged finally resulting in a half wave rectified or dual half wave rectified waveform. This process allows independent control over even and odd harmonics.
The back has no connectors at all except for power. It does have MIDI in and out. Yes, you can absolutely send each oscillator to tape. It's fully modular so you have a ton of flexibility as to what goes where. It also means that it doesn't actually do anything at all unless you patch it up with cables.
Sounds very minecrafty when the sequence is put together. Lovely and clear sounds I'm not too much of an electronic musician, so loop-based stuff with a *probability* of triggering a note is a very inspiring process to behold indeed.
Trust me, it can sound super-filthy. The amp section can be overdriven to easily add grit to anything. The VCOks also have some tricks (plus, there’s a bit crusher and ring mod!).
I question I always seem to have as a novice to synthesizers: Why are physical synths needed? Can all of this not be replicated in software other than than maybe the analog imperfections/long term damage from use?
As an owner of many hardware synths, it's a fair question - and nowadays software instruments are so good that there is little to no sonic difference. A lot of it then comes down to ergonomics and workflow. I buy hardware synths because they feel like a real, physical instrument, where you turn knobs while playing in an expressive way to the music. It's great to be able to do a filter sweep on the beat while you're playing live. It's simply way more fun to play a tangible instrument, and therefore I feel more creative and expedient than I do clicking around with a mouse, only able to control one variable at a time (of course you can buy midi controllers to help with this, but they are usually kind of a pain to work with). This tangibility inspires music the same way picking up a guitar or hopping onto a drum kit - you wanna just play and explore, which for some leads to better ideas, whereas dealing with a computer can sometimes feel less like play, and more like programming. Nothing wrong with that approach, just saying I think this is the primary appeal to many for physical synths, to feel that connection. (And I do use software synths as well - a lot! They have other advantages such as session recall and ease of complex automation.) Other reasons people will argue are the "warmth" of the filters and oscillators but really software is so good now I really think you wouldn't be able to tell the difference in a blind test. I do feel like my physical synths have more bottom end, but that might just be in my head lol.
@moegeemoe The analog imperfections are the main thing. Hard (maybe impossible) to fully replicate the complexity of an analog synth in software. Also, a lot of people prefer the tactile response of hardware and don't like to use DAWs, so software doesn't really suit their workflow. I use a hybrid setup. DAW for composing and sequencing, and a mix of software and analog hardware for sound sources.
@@c.augustin modular synthesis is generally pretty pricey. Folks regularly pay upwards of $500 for a single oscillator with VL2's quality and features. Sure, much of this can be done in software, but this is an original, locally designed from the ground up instrument. I personally know these people and they spent something like 5 years developing this.
@@soysos.tuffsound I'm sure that this is a fair price (I know how costly development can be, even as a "non-practicing" electrical engineer I'm aware of it). Still - who's the target group? On the other hand, Moog sells similar stuff for similar money, so you might be right.
@@c.augustin You could also put something together with a similar feature set in EuroRack including power/case for $3-8,000, depending on how utilitarian or boutique you want to go. The point of the VL2 is that it's one device/instrument. A new Buchla Easel (classic but less features) will set you back $5,000 or you could get a Behringer 2600 for $420 (no sequencer). Of course no one needs any or this stuff. I'm typing this on a macbook air with Ableton that I can produce thousands of full production with stock instruments and plugins. Add to that an inexpensive USB interface, MIDI controller, mic and a pair of headphones and go!
@@soysos.tuffsound Well, yes, one *could* pay lots of money for EuroRack modules - but one can also spend much less (not only when buying Behringer). If Pittsburgh Modular can sell this, then there's a target group. I just have trouble to see it.
It also has to do with how many you can sell.. moog sell many many times over what this will sell.. even the tiny first batch hasn't even sold out yet.. so ya.. it takes a special kind of musician to want this. They need to charge a lot because the appeal of this kind of thing is tiny.
Interesting piece. Just never liked their filters, too soft, or modified maybe, homogenized? Just doesn't have the grit other subtractive synths have. It does have a place, because they're different. Just seems limiting sonically. Just an opinion.
I ran a voice through the amp section for some grit and, then, ran it through the function generator set up as a low pass filter, and then through a Dynamics Controller. Plenty of heft, IMHO.
It’s an interesting question: I _did_ spend that much on my modular setup, but I did it piecemeal over several years. I think doing it bit by bit allowed me to be less honest with myself about how much I was spending. 😏 This kit gives you a full modular setup, but you’re paying for it all at once, which is an experience I’ve never had.
@@alex-r-t I’ll preface my response by saying this: all of my sequencers assume that zero volts are middle C, you know, like all CV/gate sequencers are…. First off, the envelopes. F@@k me, the release knob at 0% is too snappy. The release knob at 2% is too slow for anything above 80bpm. They’ve changed this for the keyboard version, and they’re now offering a “free” upgrade who’s willing to pay postage back to their factory (I’m in Tasmania, so that’s about $150 for this free upgrade) The filter actually sounds amazing, and the other utilities work just as expected. I’ll give them a 10/10 on that front…. (I don’t want to be super negative, just honest) But the we hit the big problems. 1. The VCO pitch tracking is relative to the midi input note only. The 1v/oct input only gives you about +/- 2 octaves of accurate range over that. I’d be able to use it, *if and only if*, the midi note defaults to middle C. It doesn’t. It defaults to C0 instead. It cannot play C2 or above. Great as an lfo, useless for musicians (but to be honest, saying I *could* use a 2v range is not the same as me wanting to. The mother-32 gives me a +/- 7v range) 2. The tuning knobs. F@@king useless. If you have a midi input connected, they’re +/- 1 octave. If you have no midi connected, they’re +/- 8 octaves. You might think “oh that makes sense”, but you’d be wrong. You’ve just forgotten that it defaults to LFO range, and loses the ability to track accurately after an additional +2v is applied. The vcos (whilst sounding pretty decent), are impossible to tune. 3. So, at the midday tuning knob position, it’s just clicks. At 3 o’clock it starts to become audible. At 2 o’clock it’s already lost its ability to stay in tune. And there is literally nothing you can do to fix this. 4. When I contacted Pittsburgh modular support, I pointed out these major flaws, and they told me it was working as intended, and that it sucks to be me. I literally got told to F off and stop wasting their time. *THAT* is the thing that blew my mind the most. I only ever talk to support departments through my actual name, rather than my RUclips persona. Instruo, make noise, endorphines, and Moog; have all bent over backwards to help me out (in my alter ego as an unknown bloke) PM told me to get lost. Make of that what you will. That was my experience. It wasn’t a good one!
@@DavidHilowitzMusic I can’t exactly say my modular setup was zero cost, because that’s not entirely true! There are some modules out there that make a lot of financial sense (Behringer 4 play, 4 lfo, chaos, abacus - all of the recent ethically dubious clones - the vintage clones aren’t really worth it imho). Add an endorphines ghost, a make noise XOH, frap tools 333, tiptop BD909, Korg sq-64, and you’re almost done Now choose a couple of VCOs (intellijel dixie2 + instruo TS-L at the high end, or an after later audio cascades + Make noise STO at the cheap end, or a Behringer 112 at the super cheap end). Now add a couple of filters (a Behringer 121 will do the job initially, then buy something better later on) The boutique stuff in eurorack is where the magic is, however a lot of it is somewhat subpar to be truthful. You’re always going to be happy with intellijel, make noise, instruo, endorphines, Moog, noise engineering, alm, ajh, and Doepfer Some stuff from Erica synths and dreadbox is amazing. Some of it is terrible. At the bottom of the heap is Pittsburgh modular imho. Terrible. Truly terrible.
Too much? It did now then a easel and that cost five grand... They're is aTON of complicated circuits in this thing.. I'm surprised it didn't cost way more honestly.
I’m so tired of every gear and music production youtuber just being an advertising platform. Of course I understand that you wanna get paid, but it’s frustrating to be on the receiving end of inorganic content.
This device is a time waster for those who want to make music. It is not an instrument. It is a sound generator. So making sounds and samples, sure, making songs no way.
To be honest, I think you can make that same argument for any modular synth. And many people do just use them to make cool sounds. I personally use the Voltage Lab 2 to make synth loops that I then work into songs on my computer. It's definitely not designed for making full songs at all, but I think almost nothing in the modular world is.
It’s just like a Buchla 208C. You can use it as a noisemaker, 303 clone on steroids, bass synth, percussion box. The list goes on and on. Just like anything else you will need to track out your melodies you write with it
@@DavidHilowitzMusic I use modular synths to play live sets, and the odd occasional YT video. The taiga was the most hateful POS I’ve ever experienced. Ever. Utterly useless for playing even a single note (maybe useful for someone who uses midi, but it’s utter trash for those of us using CV/gate). Their support department telling me to go do one, didn’t really help my experience that much tbh. So….. If you weren’t supplied one for free, would you actually spend your money to buy it? I suspect that’s what the OP was asking? (I personally wouldn’t, my experience with the Taiga and their support team has put me off for life. If they offered me a free one, I’d still say hell no tbh)
I have never read anything further from reality. It is clear that no matter what is in front of you, it won't "make music". You obviously think that there is some right way to get the job done when none exists.
I personally use a combination of "normal" subtractive synths and modular. I find that modular works very well as the added spice or "icing on the cake" - I don't use it as much for basslines and chords/pads (although sometimes I do, it's just less flexible in that regard and at times overly complicated and harder to control pitch idiosyncracies) - however after using other synths to lay the foundation, modular is really great for adding that extra bit of magic, whether that's interesting sound design, weird arpeggios and sequences, quirky percussion, or timbral layers to double with the "normal" synths. So no, I don't always create entire songs with them (though this is completely possible), but I prefer to use them to add unique ear candy on top. Though other times, playing around while recording into my DAW has created some very cool surprising sequences which I will then chop/isolate into a sampler or loop, and this can absolutely become the foundation as a new song starter.
Came across your channel a couple of months ago. And I’ve got to say your videos have been my absolute favorite to watch lately.
This channel is the gold mine of classic stuff. I mean it's like unbox therapy but it's for musicians. The synth is pretty neat too, jam at the beginning was pretty amazing.
@@markus6409 appreciate what you wrote. well, let me tell you I wrote it, I love to watch the reviews of synths and drum machines and this channel has so many of them and some of them are very unique to me because I wasn't aware of them before I watched this video, it might be usual for you, but to me it was something that I saw for the first time.
and when it comes to making music on my own, hear me out, I'm learning it mate, sound designing, different effects, mastering track on the other hand learning music theory too.
the afx logo is my favourite because I like his music so much and I'm trying my best to make a track like him, which is hard ( atleast for now, because I'm a beginner ), but I'm hoping to make it someday. currently I'm making breakbeats, dark ambient, techno and drill & bass.
loopop is also pretty good for that - I often turn on one of his videos when I need get an essay done or something. I don’t know, maybe it’s the “hi, this is ______” at the beginning of the video, but it feels like he’s showing specifically *you* this synthesizer.
Been looking at this synth, so glad that you are reviewing it!
When are you going to admit you were a ghost producer for The Postal Service? You're not fooling anybody.
He hearted it- Indirect confirmation!
yesterday, I told myself I didn't need this. Now I want it.
The process is closely related to controlling result-oriented supply chain processes where stakeholder feedback is crucial. Today.
One of the only "pure gear" channels that I respect and enjoy. Its so nice to hear a passionate, talented, and informed person make it about the synth and not themselves or some non gear issue. I was pondering the Voltage Lab after Richards live stream last week and now after knowing how things are done- I will be adding this piece of kit. Great job and thanks for your awesome channel.
This is super cool. I imagine id just spend a bunch of time making sounds, not really understanding how to use something so complex, but still having fun anyway.
I know a million people have done videos on the Mutable instruments modules, I would love to see you do a video with the way you go through an instrument and explain things and your process. Great video btw!
best review I've seen of this - you make it look easy - very tempted!
Integrity +1 for checking the paid promotion box. Lots of ppl don't when they should!
The end jam sounds like “La Bamba” if Richie Valens had been a Mario Bro. Love it!
I'm really fascinated with the oscilloscope and how the wave changes everytime you tweak something, not really sure why I find it enjoyable, but I wanna see it on videos like this. Great video as always, looking forward for more.
I love all your videos they are very interesting ❤
1:49 Whoa! That nearly shook the earbuds out of my ears! I wasn't expecting that.
Nice review, man! I look forward to more in the future.
Noice little jam, I kept hearing reggae style drums and Bob singing over your tune. I love it.
This is an interesting complete system, and I feel could be a good initial foray into modular synths for anyone unfamiliar but looking for an already complete system (and can afford it). However I would say such complete systems that can do equally unique and future-thinking synthesis have been around, not only the Buchla but also Make Noise Shared System (which is actually a lot more unusually quirky than this, for better or worse). Also pretty expensive. Personally I always recommend that if someone wants to get into modular that you skip the complete 1-brand system, get yourself a rack and build with modules over time. It's an expensive world to get into but at least going slowly allows you to learn and appreciate every building block as you go, getting to know them in great detail and fully exploiting every possible nook and cranny - but also one of the great benefits to modular is that you can mix-and-match according to your own aesthetics, learning what you like and don't like, which a system like this would make hard to do. I see screws on the panels, and they appear to be of a standard Eurorack size, and I assume these use standard power cables internally, so most likely you could actually swap out for other brand modules if you wanted, or you could remove these and add them to a larger Eurorack case.
All that said - and I don't mean this to dull anyone's shine - but it is a bit of a marketing stretch on their part to say any of this is super unique or the future, in that many of the tools and utilities have existed in Eurorack anyway for the past decade. What's nice is that it's a great all-in-one-package with a fairly intuitive sequencer at the forefront. But many modular synth manufacturers have created so many unique oscillators and voice types, with all kinds of wavefolders and modular sources that you can create wild ring mod + FM effects, and pair that with something like an FX Aid, filters, and sources of modulation, and a touch-strip sequencer (look up 0ctrl and Rene, they are smaller and less intuitive but likely as if not more complex) and you can basically do this kind of thing on any Eurorack system to varying degrees based on size and what you're willing to spend.
To me, this sounds different from the other systems mentioned. I do believe the implementation of analog center clipping and variable height additional pulse wave stepping is unique. Take a look at this video fir an explanation: ruclips.net/user/liveJ5af6sjOn-A?feature=shared
The dynamics controller is going to sound different from other designs that eschew vactrols. The sequencer UI and the synth’s UI makes it fun to play live, and the sequencer is surprisingly deep. The fun factor is the reason this could be cool even for someone who already has everything, especially those of who prefer analog and digital wave-shaping in all its forms.
@@geerhoar sure, one could look at any number of modules and say this or that is unique. To my ears, this is still largely subtractive synthesis at its core. What Mutable Instruments did for example with physical modeling, and other modular companies like MakeNoise and NoiseEngineering, to me those voices are far more like "whoa - that's different." With subtractive-based oscillators, feeding their waveforms into sources of modulation can create all kinds of audio-rate FM and sync wackiness so based on how you patch, the sonic shaping options are basically infinite with most of what Eurorack has to offer. I have no issue with this system, I just feel often with these all-in-one systems that the target audience are first-timers who want something complete to start with. I just usually feel the DIY route is a lot more versatile - and also as a general point of advice to anyone, individual modules are way easier to resell on the used market than complete systems, so as an investment they don't hold their value as well. I haven't looked up their website but I am also going to guess that modules which comprise this sytem could be purchased individually for general Eurorack users?
@@jonathanwingmusic I hear you.
Looks promising, i would try it😊
I just woke up 5 minutes ago to a new david hilowitz video!
Would you ever make sequels to gear videos? Would love to see/hear more of your noodling on this thing
i would love to see a video from you on the musical saw. ik it’d be insanely hard to get a sample out of it. but it’s one hell of an instrument.
Great synth and very nice demo video but as mentioned at 1:30 and 7:23 it is NOT "fully modular" since you can't move/replace/rearrange the individual functional sections. It's a fixed architecture semi-modular without normal'ing.
Yes, what I really meant was that there is no normal’ing
Oooo around 3:44 you showed a technique that makes me wanna place a randomizer on a synth's waveform parameter to a specific rhythm.
Sound like this could power the core crystal transducer of flying saucer.
I can’t help but notice the first oscillator’s sine wave is rounded on the positive peak of its cycle and more sharp on the negative peak. I bet that asymmetry helps make the wave folding sound cool and unique 😊 I noticed the EMS oscillators from the 70s had a similar asymmetry, compared to eg classic Moog oscillators of the same vintage which are a lot more symmetrical.
Also I must admit, as much as I respect the Music Easel the Pittsburgh Modular approach of adding a few “East Coast” techniques to the mix really, really appeals to me. However I really don’t want to get into modular, I’m still exploring a couple of my hardware keyboards. But I’m tempted to try it out in Signal Sounds (if they have one).
This is the kind of model I would only look for and begin trying to make music with if I wasn’t afraid of disappearing into it and never coming back.
Release the jam you made, it’s gorgeous 😭
Beautiful ❤
I thought I read center clipping was an abandoned don buchla design
Brought to life by Pittsburgh
Yes, from the manual:
Center Clipping
Expanding on a concept mentioned but never implemented by Don
Buchla, the Voltage Lab 2 introduces Center Clipping and Automatic
Gain Control to analog synthesis.
Center Clipping is a method of shaping a waveform from the inside out.
Independently pulling the top half or bottom half of a waveform toward
the middle. The process looks like the waveform is sinking into the center
of the wave, while the rest of the wave remains unchanged finally
resulting in a half wave rectified or dual half wave rectified waveform.
This process allows independent control over even and odd harmonics.
@@soysos.tuffsound did someone say flamingo ?
@@andrometer2382 The process is closely related to controlling result-oriented supply chain processes where stakeholder feedback is crucial.
Nice one, real nice.
i just clicked on this video in my feed, i didn't expect to see myself at 1:13...
Looks/sounds awesome.. and also awesomely out of my price range doh😂
Organizational development is inextricably link to the elimination of interdependent track in which the importance of strategic is paramount.
will you ever feature the tamburica prima/bisernica from croatia btw love the videos
Whats the back look like? In and outs? Midi? Can send each oscillator to tape?
The back has no connectors at all except for power. It does have MIDI in and out. Yes, you can absolutely send each oscillator to tape. It's fully modular so you have a ton of flexibility as to what goes where. It also means that it doesn't actually do anything at all unless you patch it up with cables.
Nice synth, ludicrous price.
Sounds very minecrafty when the sequence is put together. Lovely and clear sounds
I'm not too much of an electronic musician, so loop-based stuff with a *probability* of triggering a note is a very inspiring process to behold indeed.
These kinds of features probability-based features are cropping up in more and more synths and grooveboxes these days. I think it's great!
Trust me, it can sound super-filthy. The amp section can be overdriven to easily add grit to anything. The VCOks also have some tricks (plus, there’s a bit crusher and ring mod!).
🥇🙀
What significant things does this Synth do that is impossible to do with Software and a Controller?
Arturia Microfreak instead? For saving cable and money and get the capability of transposing sequences.
I question I always seem to have as a novice to synthesizers: Why are physical synths needed? Can all of this not be replicated in software other than than maybe the analog imperfections/long term damage from use?
As an owner of many hardware synths, it's a fair question - and nowadays software instruments are so good that there is little to no sonic difference. A lot of it then comes down to ergonomics and workflow. I buy hardware synths because they feel like a real, physical instrument, where you turn knobs while playing in an expressive way to the music. It's great to be able to do a filter sweep on the beat while you're playing live. It's simply way more fun to play a tangible instrument, and therefore I feel more creative and expedient than I do clicking around with a mouse, only able to control one variable at a time (of course you can buy midi controllers to help with this, but they are usually kind of a pain to work with). This tangibility inspires music the same way picking up a guitar or hopping onto a drum kit - you wanna just play and explore, which for some leads to better ideas, whereas dealing with a computer can sometimes feel less like play, and more like programming. Nothing wrong with that approach, just saying I think this is the primary appeal to many for physical synths, to feel that connection.
(And I do use software synths as well - a lot! They have other advantages such as session recall and ease of complex automation.)
Other reasons people will argue are the "warmth" of the filters and oscillators but really software is so good now I really think you wouldn't be able to tell the difference in a blind test. I do feel like my physical synths have more bottom end, but that might just be in my head lol.
@@jonathanwingmusicThere is always latency and can be artifacts with the D/A conversion with software.
@moegeemoe The analog imperfections are the main thing. Hard (maybe impossible) to fully replicate the complexity of an analog synth in software. Also, a lot of people prefer the tactile response of hardware and don't like to use DAWs, so software doesn't really suit their workflow.
I use a hybrid setup. DAW for composing and sequencing, and a mix of software and analog hardware for sound sources.
cool
What oscilloscope are you using?
It's called MOscilloscope and it's by Melda. Very good.
Which oscilloscope is that one in the video?
It’s called MOscilloscope. It’s part of the bundle of free Melda plugins. Highly recommend!
@@DavidHilowitzMusic Thanks a lot
It's a pocket deadmau5 synth ❤
Can we get your voice on the History Channel?
Phew - very interesting, but over $2000? But maybe there is a target group this is made for …
@@c.augustin modular synthesis is generally pretty pricey. Folks regularly pay upwards of $500 for a single oscillator with VL2's quality and features. Sure, much of this can be done in software, but this is an original, locally designed from the ground up instrument. I personally know these people and they spent something like 5 years developing this.
@@soysos.tuffsound I'm sure that this is a fair price (I know how costly development can be, even as a "non-practicing" electrical engineer I'm aware of it). Still - who's the target group? On the other hand, Moog sells similar stuff for similar money, so you might be right.
@@c.augustin You could also put something together with a similar feature set in EuroRack including power/case for $3-8,000, depending on how utilitarian or boutique you want to go. The point of the VL2 is that it's one device/instrument. A new Buchla Easel (classic but less features) will set you back $5,000 or you could get a Behringer 2600 for $420 (no sequencer). Of course no one needs any or this stuff. I'm typing this on a macbook air with Ableton that I can produce thousands of full production with stock instruments and plugins. Add to that an inexpensive USB interface, MIDI controller, mic and a pair of headphones and go!
@@soysos.tuffsound Well, yes, one *could* pay lots of money for EuroRack modules - but one can also spend much less (not only when buying Behringer). If Pittsburgh Modular can sell this, then there's a target group. I just have trouble to see it.
It also has to do with how many you can sell.. moog sell many many times over what this will sell.. even the tiny first batch hasn't even sold out yet.. so ya.. it takes a special kind of musician to want this. They need to charge a lot because the appeal of this kind of thing is tiny.
😊
Interesting piece. Just never liked their filters, too soft, or modified maybe, homogenized? Just doesn't have the grit other subtractive synths have. It does have a place, because they're different. Just seems limiting sonically. Just an opinion.
I ran a voice through the amp section for some grit and, then, ran it through the function generator set up as a low pass filter, and then through a Dynamics Controller. Plenty of heft, IMHO.
Nice, but wit a price tag over $2000 would you have bought it yourself David?
@@adrimathlener8008 I can’t answer for david, but given how terrible my experience with the taiga desktop was, my answer would be hell no.
What issues did you have with your Taiga?
It’s an interesting question: I _did_ spend that much on my modular setup, but I did it piecemeal over several years. I think doing it bit by bit allowed me to be less honest with myself about how much I was spending. 😏 This kit gives you a full modular setup, but you’re paying for it all at once, which is an experience I’ve never had.
@@alex-r-t I’ll preface my response by saying this: all of my sequencers assume that zero volts are middle C, you know, like all CV/gate sequencers are….
First off, the envelopes. F@@k me, the release knob at 0% is too snappy. The release knob at 2% is too slow for anything above 80bpm. They’ve changed this for the keyboard version, and they’re now offering a “free” upgrade who’s willing to pay postage back to their factory (I’m in Tasmania, so that’s about $150 for this free upgrade)
The filter actually sounds amazing, and the other utilities work just as expected. I’ll give them a 10/10 on that front…. (I don’t want to be super negative, just honest)
But the we hit the big problems.
1. The VCO pitch tracking is relative to the midi input note only. The 1v/oct input only gives you about +/- 2 octaves of accurate range over that. I’d be able to use it, *if and only if*, the midi note defaults to middle C. It doesn’t. It defaults to C0 instead. It cannot play C2 or above. Great as an lfo, useless for musicians (but to be honest, saying I *could* use a 2v range is not the same as me wanting to. The mother-32 gives me a +/- 7v range)
2. The tuning knobs. F@@king useless. If you have a midi input connected, they’re +/- 1 octave. If you have no midi connected, they’re +/- 8 octaves.
You might think “oh that makes sense”, but you’d be wrong. You’ve just forgotten that it defaults to LFO range, and loses the ability to track accurately after an additional +2v is applied. The vcos (whilst sounding pretty decent), are impossible to tune.
3. So, at the midday tuning knob position, it’s just clicks. At 3 o’clock it starts to become audible. At 2 o’clock it’s already lost its ability to stay in tune. And there is literally nothing you can do to fix this.
4. When I contacted Pittsburgh modular support, I pointed out these major flaws, and they told me it was working as intended, and that it sucks to be me. I literally got told to F off and stop wasting their time. *THAT* is the thing that blew my mind the most.
I only ever talk to support departments through my actual name, rather than my RUclips persona. Instruo, make noise, endorphines, and Moog; have all bent over backwards to help me out (in my alter ego as an unknown bloke)
PM told me to get lost.
Make of that what you will. That was my experience. It wasn’t a good one!
@@DavidHilowitzMusic I can’t exactly say my modular setup was zero cost, because that’s not entirely true!
There are some modules out there that make a lot of financial sense (Behringer 4 play, 4 lfo, chaos, abacus - all of the recent ethically dubious clones - the vintage clones aren’t really worth it imho).
Add an endorphines ghost, a make noise XOH, frap tools 333, tiptop BD909, Korg sq-64, and you’re almost done
Now choose a couple of VCOs (intellijel dixie2 + instruo TS-L at the high end, or an after later audio cascades + Make noise STO at the cheap end, or a Behringer 112 at the super cheap end).
Now add a couple of filters (a Behringer 121 will do the job initially, then buy something better later on)
The boutique stuff in eurorack is where the magic is, however a lot of it is somewhat subpar to be truthful. You’re always going to be happy with intellijel, make noise, instruo, endorphines, Moog, noise engineering, alm, ajh, and Doepfer
Some stuff from Erica synths and dreadbox is amazing. Some of it is terrible.
At the bottom of the heap is Pittsburgh modular imho. Terrible. Truly terrible.
Like deployed 👍
Kraftwerk in one synth
Probably not
2150 euros ouch
Seems a little bit too much for what it does.
Too much? It did now then a easel and that cost five grand...
They're is aTON of complicated circuits in this thing.. I'm surprised it didn't cost way more honestly.
Pittsburgh Modular series 1, series 2 and Waveforms modules are so much better than this Safar series crap.. and they looked cooler..
I’m so tired of every gear and music production youtuber just being an advertising platform. Of course I understand that you wanna get paid, but it’s frustrating to be on the receiving end of inorganic content.
Over priced
As a lot of stuff is
Sorry, but using a VST-Reverb at the output makes this video useless.
Thanks for warning us up front this is an advertisement so no need to watch any further
unless you enjoy watching youtube videos?
@@DavidHilowitzMusic not all RUclips videos are poorly disguised advertisements for overpriced, overhyped electronic instruments
This device is a time waster for those who want to make music. It is not an instrument. It is a sound generator. So making sounds and samples, sure, making songs no way.
To be honest, I think you can make that same argument for any modular synth. And many people do just use them to make cool sounds. I personally use the Voltage Lab 2 to make synth loops that I then work into songs on my computer. It's definitely not designed for making full songs at all, but I think almost nothing in the modular world is.
It’s just like a Buchla 208C. You can use it as a noisemaker, 303 clone on steroids, bass synth, percussion box. The list goes on and on. Just like anything else you will need to track out your melodies you write with it
@@DavidHilowitzMusic I use modular synths to play live sets, and the odd occasional YT video. The taiga was the most hateful POS I’ve ever experienced. Ever. Utterly useless for playing even a single note (maybe useful for someone who uses midi, but it’s utter trash for those of us using CV/gate). Their support department telling me to go do one, didn’t really help my experience that much tbh.
So….. If you weren’t supplied one for free, would you actually spend your money to buy it?
I suspect that’s what the OP was asking? (I personally wouldn’t, my experience with the Taiga and their support team has put me off for life. If they offered me a free one, I’d still say hell no tbh)
I have never read anything further from reality. It is clear that no matter what is in front of you, it won't "make music". You obviously think that there is some right way to get the job done when none exists.
I personally use a combination of "normal" subtractive synths and modular. I find that modular works very well as the added spice or "icing on the cake" - I don't use it as much for basslines and chords/pads (although sometimes I do, it's just less flexible in that regard and at times overly complicated and harder to control pitch idiosyncracies) - however after using other synths to lay the foundation, modular is really great for adding that extra bit of magic, whether that's interesting sound design, weird arpeggios and sequences, quirky percussion, or timbral layers to double with the "normal" synths. So no, I don't always create entire songs with them (though this is completely possible), but I prefer to use them to add unique ear candy on top. Though other times, playing around while recording into my DAW has created some very cool surprising sequences which I will then chop/isolate into a sampler or loop, and this can absolutely become the foundation as a new song starter.