I've only started to try to learn about monitors... Anyone care to explain why a certain speaker might be 'tiring' compared to another?

Really like this thread. I'm trialing a new way of working now that I have a new room to work in, seeing how other people do it is really cool now that I'm between phases... What kind of music do you make? Alternative rock with lots of classical and IDM-type influences. I'm not very good at integrat...

Plumpudding wrote:

el pr0n wrote:

foodeater wrote:'Now the same as any other time: exactly enough is exactly enough'?

That one deserves a virtual kiss! Couldn't find a kiss emoticon, so I'll give you a lick.

....You're welcome?

foodeater wrote:Now more than ever: less is more.

I really hate that way of thinking. If you want to make music with lots of different instruments all playing at once, you'll need lots of different instruments...

How about 'Now the same as any other time: exactly enough is exactly enough'?

Have another listen to all that. Particularly Xenakis, Stockhausen and Messiaen, you won't find much use of subtractive synths there. Hm, I know, I wasn't listing out a load of people I thought used only subtractive synths, just ones I listen to. The reason I got into Xenakis, Stockhausen, Autechre...

Something I've been wondering about a lot lately, then kinda compacted by parts of shaft9000's post in one of the threads here; 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 ne...

As far as sound design goes, working in software is the way to go. Most of it is done in Max/MSP 5 and symbolic sound Kyma. If you're looking to do far out sounds nobody has made before. A juno 60 is most especially not the synth you want to buy. It's nice but highly limited in the amount of patche...

Analogue is better because it really is better, and if you disagree with me in any way I'm not going to attempt to back up my arguments at all, because it's obvious to anyone that you're wrong. holy s**t that is some industrial grade trolling right there. good work, sir This is completely unaccepta...

I felt I explained in my original post but I'll indicate it again. Everyone in the World agrees that the Bosendorfer Imperial 290 is better than a Yamaha U1 upright piano. There's no opinion in this (everything isn't about opinion). Similarly, there's universal agreement that a Minimoog is superior...

I believe there a reality and validity in the points I made, worth taking on board. Regards, Kevin. I don't get how you can say 'analogue is literally better-sounding' than anything... Even saying "X is just better than Y" with respect to anything is a hard enough argument to make a point of, but s...

Ashe37 wrote:see when we discussed this the other night, Blackgnosis just wouldn't take my word for it that you don't need a DI box to go from synth/audio interface to a PA system

It necessary running from a stage to sound desk though, right?

Er, I couldn't think of a good title... Suggestions? :P One of the things I'm most interested in doing with music right now is programming a sampler in Pure Data (though I'm considering learning SuperCollider over summer so I'd like to do it in that too). One that can sample in real time, that I cou...

Is there any info on how the sequencer in there works? I can't find very much info... It'd be easily doable in Pd or SuperCollider or something and interface with any other synth, if you knew the rules for the system...

space6oy wrote:whammy ... handle chords.

No it doesn't. It jumps between all the notes you play really quickly.

Sure, what do you want to know? It's a bit like a modular synth, in that you make an object for an oscillator, and an object for a filter, and an amp, and connect them all up however you want, and envelopes and modulators and sequencers and whatever can go wherever you want them to. But then it's li...