The vast majority of the electronic music I own/have listened to is done with subtractive synthesis. I don't know if I'm entirely right in saying it, but it seems to me like 90% of synthesisers in, at least the music I own, are doing subtractive stuff. It almost seems a little hard to find the other stuff?shaft9000 wrote:It's not like in the 70s and 80s when all this stuff was new - you didn't need to know what you were doing then as pretty much every sound was relatively interesting and new to the audience. Young rock stars in the 70s could impress everyone by just twiddling a few knobs and going 'whoosh' 'wow-wow' or whatever and get away with it....but a LOT of time has passed since then; so it becomes obvious whenever someone doesn't know what they're doing - they use presets or stick to bog-standard Moog-y analog stuff. And that hipster-retro 'Moog is the best' cliched attitude is tired tired (meaning it's on it's last legs).
so anyone with 5-10 yrs of conscious listening experience of classic synth-works will filter the truly innovative from the noob/rehash stuff easily; automatically even.
I like "IDM" stuff (though I hate that term...) at the moment, Autechre, Telefon Tel Aviv, AFX, Boards of Canada... Big fan of bands that put rock and electronic stuff together, like The Flaming Lips, Radiohead, Battles, Deerhoof, CAN, Talking Heads... Also really interested in the stuff that came out of 20th century classical traditions, like Xenakis, Stockhausen, Messiaen, those dudes.
It seems to me, from what I can tell at least, it's mostly subtractive and a little bit of FM, where's the additive/granular/wavetable/whatever? Of course I might be talking rubbish, most of you all know way more than me. I thought it might lead to an interesting conversation at least?
And, if I am making ridiculous generalisations that aren't true, I'd love some recommendations