I have a rather silly question I think, but Winnie the Pooh with me. Just imagine there would be an air compressor that is absolutely constant, no fluctuations in air pressure. As tight as an atomic clock. Next we connect that air compressor to a kind of silicon mouth with lips and those lips are ab...

(though not necessarily in playability) ...but can't accept their own limitations... There is a problem with sample libraries that isn't so easy to fix, it's performance. To be exact, it's related to two aspects: 1) the keyboard with its traditional controllers 2) playing live 1) A keyboard interfa...

I know, sometimes there's something useful in primitive sounds. I don't deny that. But because of all the possibilities today (RAM, CPU-power) it appears to be not really a target area for commercial sample library makers. Today we can have all the things that we wanted to have in the 80's but were ...

I don't think we've lost the art or skill, I certainly still know how to cut/optimise samples and cram a lot of 'm in limited amounts of RAM. But other than that: your example sounds synthetic. And it may, in a way, sound pleasant to the ears, but it's still synthetic. No-one today would accept that...

Hoo boy! Are we judging the looks of two similarly looking cars based on one having automatic transmission while the other has manual transmission? It's now very much a debate about left-handed and right-handed hammers! :lol: Oscillators and even filters are just parts of a synth, it's just a wee bi...

That they were a nice tax deduction.

The most fundamental practical difference between a Juno and an FM synth is not so much the sound. A DX7 can produce a sawtooth, a blockwave, a sine, and thousands of other sounds. At least with FM8 I can also do the PWM thing, the white noises, and all the other stuff. The main difference is the wa...

Something FM'ish, for the tonal colors. A soft Juno60 pad should match up fine with a typical EPiano from a DX7. Another typical analog synth wouldn't bring that much new in terms of fundamental sound.

Having lots of parameters to tweak requires lots of controls. And if 1:1-controls aren't possible, then you'll end up with menu diving or banking. A MiniMoog has (if I counted correctly) 27 knobs and 15 switches. Now compare this to e.g. a Roland JD/JV/XV, and you can't miss the fact that the Roland...

Regardless of the DX7 being a stage prop, as desmond pointed out, such a sound is of course quite possible to craft with FM8. But indeed you probably won't find that exact sound in the default FM7 factory set.

minime123 wrote:

Jeeebus! Those walls must've cost a fortune!

So, Neanderthals are vintage humans!

Personally, I'd like to see new synths become eligible for inclusion each year ... either that or we just say it's open season and add any piece of gear regardless of the date and keep the title "Vintage Synth Explorer" as a nod to the old website. Problem is that the term vintage isn't set in ston...

gs wrote:Vintage = Analog
Non-Vintage = Digital

Emulator? Synclavier? Fairlight? I'd say those are pretty vintage. I wouldn't want to just divide between vintage and non-vintage using the particular method of sound creation.

I'd say that vintage relates to (in this case) synths/ra/va/samplers/yadayada-everything that is now technologically outdated or obsolete, yet played a major role (or was a major milestone) in the history of music technology and music production. But hey, it's all as vague as strawberry pudding in a...