Only if they allow quasi infinite routings of the set of offered parameters. Which they don't. Which is the whole point.KBD_TRACKER wrote:But back to synths, within the existing set of offered parameters, conventional synths offer you a quasi infinite array of sound creation/modification options.
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Sorry if my wording was unclear:pflosi wrote:Only if they allow quasi infinite routings of the set of offered parameters. Which they don't. Which is the whole point.KBD_TRACKER wrote:But back to synths, within the existing set of offered parameters, conventional synths offer you a quasi infinite array of sound creation/modification options.
what I meant by "quasi infinite array of sound creation/modification options" is not the physical options (obviously perforce fixed) but the possible palette of sound textures available in a conventional synth, which to me is indeed enormous. Take the modulation matrix of a modest, inexpensive synth like the alesis micron/akai miniak and then factor-in the modulation of the modulators (ad repetita) and then add the tracking generator, etc.
So imo in conventional synths with common features, and within the fixed "factory" set of their available internal routings the combinations of existing parameters can yield (for practical purposes) a near infinite range of sound options.
And this without having to physically add any components or re-wire or reconfigure any of the internal components of that synth.
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Me, I prefer an in house Agile approach
Digital has blessed us with more complex modulation options, but the basic osc- > filter -> amp path is still hardwired unless you are using a Nord Modular or certain softsynths. There are many dual filter machines but there is no question that modular will always have the edge...it is infinitely expandable. If hardwired synths show up with 8 oscillators and 6 filters, a modular can still have more.
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I'm not quite sure how we're supposed to be discussing these things without "sounding like the epitome of every previous sentiment." I could give you the dry details of "it was a very warm with a booming low end, and a bit unstable, but fit quite well into the generic electro track I was producing. There was a simultaneous swarming, buzzy modulation and metallic overtones that complimented the mangled kick drum I had going through a tempo synced delay with a simple Juno type lead and a glassy pad from the Waldorf Blofeld." Sounds more like I just described the c**p electro track I was making. I could talk to you about the kick drum I made the other day to be used in a DAW with the same idea as the bass I used, just in kick drum form that sounds far better (to my ears) than anything I've gotten out of a conventional machine and how I intend to use it in a noise track to add a massive slam at the peak of a song that will cut through the room and will fill a lot of the sonic space. Or how about the self playing pseudo random patch that I leave on as the only constant in a composition that sounds like what most of us think of when we think of cheesy, sci fi ambience and how that really fits into my vision for this ambient track with lots of multi tracked DX7s? No? mmmk.griffin avid wrote:Strange how you almost came with the sobering voice but then sound like the epitome of every previous sentiment. You gush about how you created a sound, which was already stated earlier about the journey. Then, speak about your 'control' which is related to how you feel- even with the kid analogy to Legos.
And you brag over the how and not so much the what - like what was the sound you made which leads back to the counter of "doesn't matter how you made it or with what if it isn't musical or useful".
I own plenty of more standard synths and would never dream of trading one over the other. I go to both of them for different things. I don't know about you, but I got into synthesizers because they allowed me to sculpt the sounds I wanted for the music I create, be it a 5 minute electro track, an improve harsh noise live set, or ambient, droning epics.
MU Modular (Moog, Dotcom, STG, Analog Systems, and Moon modules), MS20 (x2), Microbrute, Electribes (EA-1, EMX), microKorg, AN1x, Nord Lead 2x, Blofeld, Alpha Juno 2, DX7, JX8P, Poly 61 (x2), Split 8, TR-505, Monotron Delay, Ace Tone FR-3, Paia Fatman