griffin avid wrote:
I've observed that western culture seems to obsessed with doing the least with most.
And eastern seems to be doing the most with the least.
We have modulars making bleeps and bloops and somewhere there's a guy playing the Blues on a Kaoss pad.
Your observation sounds exaggerated and dubious. Your example leaves much to be desired. Taking the claim seriously for a moment, one only has to reflect on the highly complex and ritualistic elements of traditional Japanese culture to see that it is quite outstanding. Outstanding claims require outstanding evidence, and with the burden of proof squarely on your shoulders, refuting this requires little more than stating its opposite, or even simply: no
sequentialsoftshock wrote:This was a dumb thread to read.
Did you try to watch the video that it started from again? My god...
gs wrote:Learning a whole new synth architecture every 6 months just so I can have bragging rights that I own the latest gear... NOT for me.
Griffin has indeed slayed this idea with his excellent clothes analogy, but it is still worthy to note that once you learn how the basic filter controls work, how envelopes behave, and how to navigate around basic modulation sources like LFOs, or an s&h circuit, there's really not a whole lot that goes into becoming familiar with operating a new synth. And what's left is not really an obstacle: it's fun! It's like travailing to a new country. Yes, you can do everything you need to do to survive in the hometown that you know like the back of your hand, but that fact is hardly a reason not to explore new horizons. Many paths lead to the source; and if you're having fun, you're doing something right. When I see people with a whole line up of synths, I don't make up what I think they do with them, and without investigating, assume that that is actually what they do with them, and then judge that this fantasy would probably negatively impact their ability to make music.
This looks like a psychotropic reaction. No wonder it's so popular...