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There's nothing better for instantly turning someone's ambition to become the next skrillex into a swim-or-sink situation like a typical 90s rompler, I'll give him that. Either you persevere and make something wonderfully bizarre, or you now know what you should have bought instead, or it kills your interest in making music stone dead. Or you find out that you wanted to make pop songs all along, of course.
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Oct 21, 2015 12:05
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Sizone posted:Not if you actually intend to make music/compose with it. I would've been perfectly o.k. with an Rm1x as a first synth. Really, it should say get a groovebox or a sequencer as your first synth. I had a mc-303 as my first "synth" and it loving sucked. Just get a DAW first.
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Oct 21, 2015 12:32
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But seriously, what I would recommend my 12 year old nephew right away is a tablet with an app like Caustic. Best sort of groovebox compromise available.
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Oct 21, 2015 12:48
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Get any individual who's giving out recommendations to understand your personal specific circumstances, goals and experience before they loosely state their own vague opinion/historical choices as a universal truth. "One size fits all" only works as a Zappa album. Diversity is strength.
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Oct 21, 2015 13:40
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that advice seems to be centered around "learn music first", which i don't necessarily disagree with, but the actual informational sections are so full of  my advice? learn about how synthesis works before buying anything. then buy used gear whenever possible, because you'll be able to flip it for roughly what you paid for it if you end up not liking it. everyone's process is different so recommending specific gear (or specific types of gear) is basically useless.
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Oct 21, 2015 15:01
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Sizone posted:Not if you actually intend to make music/compose with it. I would've been perfectly o.k. with an Rm1x as a first synth. Really, it should say get a groovebox or a sequencer as your first synth. Unless I'm the crazy one, I've always thought of romplers as (mostly) sample-based devices where you might be able to tweak the presets, but you can't import your own samples or build your own patches from scratch. And rompler plugins are the same way; tweakable preset libraries, but no way to truly construct your own patches.
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Oct 21, 2015 15:19
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You're not crazy, the dude is just a massive idiot (or a trolling genius who wrote such a poo poo piece of writing to inspire us all to bitch)
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Oct 21, 2015 15:35
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Radiapathy posted:My main issue with at least that passage I snapshotted was that the guy says that something can only be a rompler if it has DIN MIDI. On the Reddit thread he says the D-50 is a rompler because it has PCMs. They are called "ROMplers" because they are sample-playback engines with Read-Only Memory (I.e. one cannot add sounds to one, only use what's onboard with whatever synthesis engine the device provides). Read-Only Memory samPLERS. Samplers with only factory samples. Any of the cartridge-sample-based synths are also romplers. Wave table synths are not. VAs are not. Anything that can record and mangle or generate its own oscillator waveform is not a rompler.
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Oct 21, 2015 15:40
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Mr. Glass posted:my advice? learn about how synthesis works before buying anything. Seconded. The first exposure I had in making any electronic music (beyond using a DAW/Digital 8-track at school to record live musicians) was the ES1 synth in Logic 5. It's the perfect introductory synthesiser. Now look at me 
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Oct 21, 2015 16:11
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Dear Teenager/Young Adult, Just pirate Ableton and some synths like everyone else without a steady source of disposable income does. Love, synth community
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Oct 21, 2015 16:29
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Swagger Dagger posted:Dear Teenager/Young Adult, Synth1, Cantabile (or the free Traktor 4) and a link to SOS's Synth Secrets is where to start. Talk about zero bar to entry (and sans crime) right there.
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Oct 21, 2015 17:28
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sofullofhate posted:They are called "ROMplers" because they are sample-playback engines with Read-Only Memory (I.e. one cannot add sounds to one, only use what's onboard with whatever synthesis engine the device provides). Read-Only Memory samPLERS. Samplers with only factory samples. This is not me saying what I think the word should mean, but how most folks in our circles currently seem to use it.
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Oct 21, 2015 18:02
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AnnoyBot posted:Synth1, Cantabile (or the free Traktor 4) and a link to SOS's Synth Secrets is where to start. Talk about zero bar to entry (and sans crime) right there. https://www.youtube.com/watch?v=U2m3GBIWGCY Just had a ton of fun with my BS2 and am trying to figure out better ways to map MIDI for my softsynths in Ableton. I would honestly like to just have it all mapped already but my brain is having a hard time navigating "Ooh, add this wave here and modulate with this LFO." That and drum synthesis and sequencing I still need practice with. Seriously, just thinking about the venue, crowd, and dancing is all I gotta do to get inspired. https://www.youtube.com/watch?v=l1dfsoGP8-I
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Oct 21, 2015 18:03
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Sizone posted:Not if you actually intend to make music/compose with it. I would've been perfectly o.k. with an Rm1x as a first synth. Really, it should say get a groovebox or a sequencer as your first synth. Pretty much. I can see this as a guy detailing exactly how he did it and thinking it's the best way, so it's a bit over-specific, but I can very much understand the advice of a dedicated hardware monosynth not being the ideal first step into trying to create songs. My re-entry into synths started with a DSI Evolver; while it's got almost everything you could ask for as a monosynth but I very quickly realized I needed something like a groovebox if I wanted to make music outside of a DAW.
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Oct 21, 2015 18:39
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I would unironically recommend the new electribe to anyone beginning to delve into electronic music. It's reasonably priced, easy to get started with, and provides plenty of depth to keep you busy for a while. It includes and integrates nicely with Ableton Lite (of which I probably have at least five copies now thank you very much), and gets you away from the computer screen, which does wonders for productivity if you're an ADD kid like me.
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Oct 22, 2015 03:26
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I know some people have had issues with their Beatstep Pro but I felt good about that purchase earlier today. I've never been able to just have fun with my synths so effortlessly as I have since I bought the BSP. It's real good y'all.
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Oct 22, 2015 03:54
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My only reservation about the electribe 2 or electribe 2 sampler is the incredibly lovely documentation. The docs don't tell you what any of the oscilators are, or what the edit knob does for each. Which is sad, cause the King Korg did and the engines are related. Unfortunately you can't just use the King Korg's docs, because it has 2 edit parameters and the electribe has one.
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Oct 22, 2015 03:58
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net work error posted:I know some people have had issues with their Beatstep Pro but I felt good about that purchase earlier today. I've never been able to just have fun with my synths so effortlessly as I have since I bought the BSP. It's real good y'all. This. Just an inspiring tool, I have fun every time I use it.
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Oct 22, 2015 07:26
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So since this thread is kind of on the general topic of "what poo poo should you start with" I have an embarrassingly simple question: I started with a DAW (well, I started on guitar, but whatever) before I ever got hardware synths or samplers or what have you... so I admit my experience is really colored by the ability to do a whole shitload on a computer and nothing else, but (and here's the simple question) what's the advantage of a hardware sequencer? Is it just tactility and speed of use? I ask mostly because someone said earlier that they thought the best first hardware purchase was a sequencer and due to the way I've come to music making, I don't get that at all.
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Oct 22, 2015 07:50
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MockingQuantum posted:the best first hardware purchase was a sequencer and due to the way I've come to music making, I don't get that at all. Probably because it's so simple that you can master it and then find interesting quirks. I teach people music, they roll in with Ableton Live and whole lot of optional paralysis. That usually makes them grab a bunch of premade loops and pile them up to make instantly gratifying but identikit music. With a hardware sequencer you're forced to start with smaller sections, easier to understand and own. First gear = a Kawai 100F and a couple of cassette recorders.
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Oct 22, 2015 08:22
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MockingQuantum posted:So since this thread is kind of on the general topic of "what poo poo should you start with" I have an embarrassingly simple question: I don't get it either, seems like a great way to do less with more effort.
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Oct 22, 2015 08:25
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You can work fast on a decent hardware sequencer once you get used to it, often much faster than you can mouse stuff in, at least for certain tasks. The good ones are their own little instruments and you also come up with stuff that you'd never play or enter manually. Something like the Metropolis for example.
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Oct 22, 2015 08:45
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W424 posted:I don't get it either, seems like a great way to do less with more effort. You were poisoned on the experience by having picked up something really lovely to start with. The advantage of a hardware sequencer is this: Try making a beat on a drum sequencer that's got a grid layout, like a tr-808/909, knockoff thereof or, like, an electribe. You put in your kicks and snares, you move them around a little, lights flash, it's all super immediate and tactile. Now imagine that same work flow with notes. The worst tragedy in electronic music is that Yamaha doesn't still produce/update the rs7000.
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Oct 22, 2015 10:36
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She was the swan song of big powerful hardware sequencers.  New England goons! AHNE meet is this Saturday at Olin College in Needham. There's going to be a couple rooms full of synths and
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Oct 22, 2015 11:09
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I transcribe sheet music really drat quick on the QY700. A dedicated interface beats the pants off of mouse and keyboard.
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Oct 22, 2015 13:42
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I got an MI peaks! Case is full now. I think instead of selling the pressure points (which i will admit has some use now i've got every output patched up) i'm leaning towards the phonogene as least favourite. When using it I have to use that and only that to make anything interesting, and it's still of questionable use in real music. Anyone else have/had one, and either feel the same or can give me some tips? Be a long time before i build the erica filter so i'm in no rush to take anything out of the case.
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Oct 22, 2015 16:33
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cubicle gangster posted:I got an MI peaks! Peaks is cool! my only complaint is that you basically have to memorize all of the function to utilize it effectively. I basically only use it for drums or tempo-synced LFOs because of that (and in the latter case i always have to refer to the manual to remember how to get what i need out of it). it's definitely more approachable than the Disting in that regard, though. i've never used the phonogene myself, but after watching a bunch of videos about it and the MI Clouds i decided to go with the clouds and i couldn't be happier (i know this isn't really an apples to apples comparison but broadly speaking they're both "granular samplers" even if their set up completely differently).
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Oct 22, 2015 17:02
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The disting makes peaks looks like a fisher price toy... A little part of me is toying with the idea of replacing the photogene and the echophon with a filter, vco (not sure which yet) & clouds... https://www.modulargrid.net/e/racks/view/181557
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Oct 22, 2015 17:35
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cubicle gangster posted:The disting makes peaks looks like a fisher price toy... you're talking about the space to the right of the wogglebug on the bottom row? it definitely looks like you could use another filter, although with the DPO i'm not sure you really need another VCO in a system that small. maybe get something multi-use, like Tides? not sure how much space that would leave you though.
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Oct 22, 2015 17:42
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One of the Gawker Network sites just posted an introduction to synths for some reason (and it's actually not bad, for what it is).MockingQuantum posted:So since this thread is kind of on the general topic of "what poo poo should you start with" I have an embarrassingly simple question: - I have had many personal workflows, from downright primitive to where I am now with full-on mostly ITB DAW production, and without exception, my "simpler" workflows were more productive (far more finished tracks the less gear/software involved), but also the results were the furthest from the song I had in mind when I first set out to record. In other words, my full DAW productions take forever to complete, but when I'm finally finished the results are really close to my original intent. - I also have found that at least in synth circles I might be a little unusual, in that I don't sit down at my DAW unless I already have a full song in mind. It seems like a lot of people who are into modular and hardware sequencers actually get inspiration from the hardware. The little surprises that hardware can give you spark their creative work- whereas for me, when I fire up my DAW I'm 100% about making my instruments do what I already hear in my head, and I don't want any surprises. This might be the primary reason that hardware sequencers/modular are not for me, but I can totally get how they can be perfect for other creative types.
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Oct 22, 2015 18:37
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Phonogene is nice to play around with, I didn't really get along with it too well though. If you're looking for a straight up sample mangler then the Phonogene can do some of that but it seems the real idea behind the Phonogene is manipulating the playback speed and segment of your recording. I'm sure I didn't get as deep into using the module as it can go, I was newer to Euro at the time, but it seemed a little more featureful than I needed in a sampler module. That being said I have a Bastl GrandPa kit and Spa expander kit (Grandpa Spa!) on the way which I'm hoping to build and play with soon. Seems much more straightforward than the Phonogene, though I'm curious how much more powerful the Spa will make the whole package.
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Oct 22, 2015 18:59
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I've seen alot of people with the RENE + a Pressure Points. I'm curious what the point of this is. I was told PP cannot modulate the Rene's overall pitch/scale
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Oct 22, 2015 19:17
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The Cleaner posted:I've seen alot of people with the RENE + a Pressure Points. depends on what you mean by "the Rene's overall pitch/scale". The Rene is super flexible, and while it's true that you don't get CV control over the notes in the quantizer or the knob values you could easily map the PP to the x or y position on the Rene to control it in that fashion. i don't have a Pressure Points so that's really just one possibility that i can think of. Rene is super deep and there are tons and tons of interesting patterns you can get out of it. like a lot of Make Noise stuff, though, the depth of functionality is difficult to describe.
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Oct 22, 2015 19:37
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The Cleaner posted:I've seen alot of people with the RENE + a Pressure Points. It's easy enough to transpose Rene's output with a PP via a mixer or adder. You have to keep in mind that you're always just dealing with voltages. That said, I've got my Pressure Points right next to my Rene and they usually don't have much to do with each other. I think it's just that people with some popular Make Noise modules are likely to have other popular Make Noise modules. It's common to see those two in close proximity since they're fairly performance oriented and it's convenient to have them closer to the hands or at least out of the way of the huge mess of wires.
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Oct 23, 2015 02:49
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I dont think i've ever plugged my pp into the rene. I was trying to go all in with the touch/pressure control, but I had a breakthrough by using the fixed voltage section & taking time to tune it, then attenuating the pressure to make it growl and increase the delay feedback each time the note changed. This was all on osc1 of the dpo, with rene handling quantised notes with the second oscillator. It was super cool and immediately made me change my mind about selling it. I was overusing the pressure feature before and neglecting the rest, using it subtly to add flavor to a fixed change works much better for me. cubicle gangster fucked around with this message at 16:16 on Oct 23, 2015 |
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Oct 23, 2015 16:14
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Skeletron posted:Trying to finish a track for once, for a live show on Halloween. Just have a quick question for anyone familiar with a TR-707. :O You'd need an actual sampler and be able to change how the unit treats the sound. on the S1000 I can specify play to sample end, or play until release so it would work with responding to shorter MIDI notes. you don't have that control on the 707 (I wish). The 808/909 has decay controls since it is actually synthesizing the sound with oscillators. No idea if the 505 gives you any additional features like that but it's basically the same sounds as the 707 I completely get the hardware preference, but if you are sequencing in ableton and the 707 is really no different than loading samples why not just sequence all that in ableton?
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Oct 23, 2015 19:50
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cubicle gangster posted:I got an MI peaks! I had a phonogene for a while but ended up ditching it. I think it really suffers from a lack of a proper v/oct input and also when faking it with tuned voltages I noticed that there's a significant portamento-like ramp up/down time in playback.
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Oct 23, 2015 19:57
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Fors Yard posted:You'd need an actual sampler and be able to change how the unit treats the sound. on the S1000 I can specify play to sample end, or play until release so it would work with responding to shorter MIDI notes. you don't have that control on the 707 (I wish). The 808/909 has decay controls since it is actually synthesizing the sound with oscillators. No idea if the 505 gives you any additional features like that but it's basically the same sounds as the 707 Obviously you'd need a 2nd track to control the length/ stutter/etc, but same idea I'd think. krysmopompas fucked around with this message at 02:33 on Oct 24, 2015 |
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Oct 24, 2015 02:31
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That's if the output of the 707 is going into Live at all of course. I was also thinking along the lines of entering zero velocity notes to stop the currently playing sound, but I don't know how polyphony works on the 707 and if it's really a bunch of monophonic sound generators tied together or what. But in the case of the 707 specifically it all seems a bit less than sane to put in all that extra effort compared to just using a sample pack as was suggested earlier, considering the setup has a daw running anyway.
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Oct 24, 2015 09:14
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Doesn't need to run into live. If he wants to do it all in hardware, a compressor like the dbx 166a has gate functionality. If it even works on a 707, sending a zero velocity wouldn't get the right effect either since it sounds like he wants to have a long decay on a note and duck parts of that decay out without cancelling or starting a new note. Even if you used samples you'd have to do the same thing, or edit the individual samples themselves which would be a major pita. krysmopompas fucked around with this message at 11:04 on Oct 24, 2015 |
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Oct 24, 2015 10:59
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