Are modular synthesizers allowed here?

Are modular synthesizers allowed here?

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youtu.be/gKDlzswI7Ao
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soundonsound.com/people/autechre
youtu.be/xVY1mqCeKvg
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No.

Yes.

Well excuuuuuuuuuse me!

Maybe.

How many posts til the poorfags join in and say computers do it better?

6

How do you start a patch

Just use a computer!

>He thinks he has high-tech equipment because it has so many buttons and knobs.

A computer can do this more efficiently.

You think he thinks... ok

Depends on what I want to do. Sometimes I just patch white noise into Rings run that through Erbe-Verb and then spend time to try and make it actually interesting.

I appreciate any break from the phone threads. How low has this board fallen?

>Are modular synthesizers allowed here?
yes but we don't comprehend them

No

Just programming and watches.

Any consumer electronics product is allowed.

what brand endorsed you?

youtube.com/watch?v=21xhOh9hMso

Why do these things exist if no one ever seems to use more than 5 ports?

how much does a setup like that cost? and what does each module do?

Case costs over $1000. Average module costs $175.

>Case costs over $1000
no

I'm into it. It breaks up the monotony of the shill threads and forum sliding shitposts.

Close to 10k €

It can be pretty cheap and DIY

Damn never really put it together in my head how those look in real life until now.
Seems interesting, so I'll allow it.
>How many posts til the poorfags join in and say computers do it better?
I'm not a Sup Forumsfag, so can you explain what the pros/cons are compared to computers?

I don't have one, but let me guess:
Pro
>its fun
>you can DIY
>analog feel (aka shitty noise)
>can't save presets, so it's like every sound is a new one
Con
>cost money
>its big
>can't save presets

For

You're obviously not a golfer

can't afford the rack set up but racks are better if you know what you're doing

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I disagree that analog is "shitty noise", but yea modular synths are pretty pointless. Analog really only has use if you're trying to do weird hacky shit that can't be properly recreated with digital (which almost nobody does) or if you just like the feel of hardware more (which imo is reasonable).
Doing analog without using modular racks (aka either commercial synth units, or building your own) at least maintains the benefit of fun and DIY without the negative of no presets and (usually) size, so for most people I'd say that's the recommended route if you want analog.
But if you're gonna complain about cost, in the music industry.. oh boy.

As cool as this is, I feel like people who have these crazy expensive modular rigs are more often than not only do sound design or are just looking for something to sink money into and never actually produce anything. In every video I've seen about this on jewtube the guy just makes some distorted bass patch, then plays a shitty 5 second melody that sounds like it's from an ad for home electronics from the 80s, and that's it. The uploader sometimes has an unreasonably priced sound pack on some ecommerce website, but never any actual music.

all this, and all most people come with is a bunch of uninteresting blipblops

That's an argument against the user, not the hardware.

wtf this isnt an amd/intel/apple shill thread

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Bet you don't even play golf.

>tfw want to build a modilar synth
>can’t even play a keyboard

fml

Hell Yeah! lets discuss

Yeah this is unfortunately the case. It's gotten to the point where it's even difficult to justify doing professional work with any sizeable amount of outboard gear. People who use modulars successfully in a working environment tend to only have smaller set ups based around a handful of generator modules. The way I would explain using a modular to help people unfamiliar understand why there's a desire to do so, is that it's similar to painting in oil vs drawing with a digital tablet. It's slow, tedious, unforgiving, takes a hell of a lot more time, but definitely the end result won't be the same. Also, obviously creative pursuits aren't exercises of rationality or efficiency. You don't have to "justify" your process for something like this until you start having deadlines and contractual obligations.

i think modular synths are cool as fuck, all my favorite artists favor them over software. but im a brainlet when it comes to using them myself.

>my favorite artists favor them over software
What artists are these?

modular synths are neat, but very few modular synth people make decent music

I actually prefer traditional style synths, they're a lot more musical

not him but Aphex Twin has used a lot of modular gear

Atari Teenage Riot (alec empire). he said in an interview that you just don't get good results from software. if you wanna make something with real impact, it's got to come from a real machine.

i believe Underworld also counts, although i think they use software for live events now.

RJD has an impressive collection of gear. he also used a lot of tracking software. 'Vordhosbn' was composed on an Amiga. "Born Slippy" by Underworld was also composed in a tracking software. the best artists can utilize both i guess.

fun fact, the actual title is "Born Slippy .NUXX" which came from a fault in the tracking software appending NUXX to their project files.

I'd have to disagree with alec empire... Autechre is beyond everyone

My roommate has a thing like that, I think it's neat. Put some guitar over it, I add some inout fromy e-drumset, fun as hell.

I don't know shit about the actual technology tho

>you just don't get good results from software
This was probably about the digital landscape from before software began to very closely capture the tonality of analog circuitry.
To explain a little bit about why there's such a difference, in the early days of software and digital synths it was all designed with functions that were based on purely mathematical "ideal behavior" which led to quite a lot of them missing a unique character in their sound. They all sounded really similar as some of them even used the same DSP chips. Now however, digital synths often feature behavior modeled directly from the component level of "real" analog circuits. What you can really get out of software now is completely different from when they would have been creating their most important works. There was also the matter of adding expression to software being difficult to capture as it was overly complicated, and had no good way to streamline the process. This couldn't be any further from the truth now as MIDI is so widespread and the process is only at most a few clicks away from getting exactly what you want. There was a point where digital /software synths did gain their own unique tonality, and there wouldn't be entire genres without the more diverse, and often very cheap, digital/software sound modules that were offered in the late 90's/early 2000's. It really just depends on what you're trying to do with your creativity and workflow for what type of synths you prefer using.

MAX/MSP is the last frontier of synthesizers in software. A lot of software synths and patches simply sound too sterile.

I could never afford analog, so went with early 4op and 6op fm instead. Years later though and I am very happy with my choice, since 1 or 2 units can make me all the sounds I need, and the longer you stick with it the more complex sounds you can make.

youtube.com/watch?v=bQbLyEPKGMM
Some of these sounds you just can't make exactly in VSTS. You could directly import the sysex into FM8 and it will sound different.

>Can't save presets
>What is a sharpie

Sup Forums + Sup Forums = /mug/
solve for (mug)(moog)

What about semi-modular synthesizers? ...although i'm saving up for Intellijel

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I would like to see more synth threads

>A lot of software synths and patches simply sound too sterile.
The reason for this has little to do with actual capability of modern digital/software synths. I will say that I almost always personally prefer a single voiced analog patch to a single voiced digital patch, but feel it's more about my goals and stylistic choices. At the same time however, it's near impossible to work with analog when you're going for complex layers that are everywhere in the more commercial styles. This isn't something analog can reasonably overcome with time either, even with affordable and compact SMT designs.
Out of curiosity have you tried some of the Arturia classic synths? They all have a really good sound and I think you might find it difficult to say they're sterile.

Interested in the O-Coast, seems a good foundation for getting started.

workflow and routing have a lot to do with it as well
And I have tons of synthesizers, only a microbrute from Arturia. Prized possessions are juno-60, akai ax-60, roland jd-800, and my machinedrum mkII

Meh, seems gimmicky.

I have Erebus, it's lots of fun

I have an 0-coast, its fun

Ah, yeah the Juno emulations are all feature clones instead of actual modeling so if you did try them I could understand your point of view. I have both the 60 and 106 with full retrofit kits and haven't found something that replaces their combined tonality in digital form yet. I don't feel as if that has ever limited my options for opting to use digital/software in the past though. The juno sound module from Roland can get close results, but if you already have the real thing it's not worth getting rid of. I don't think they sound bad but the buckets on the real junos really make them something else. I have a fairly large collection, but I try to work efficiently and use what suits the situation best rather than fighting an uphill battle of analog purism.

OY DIS LOOK LIKE SOMFIN OF A MAD SCIENTIST BRUV!!

I just like gear and spend enough time staring at a computer. Knobs and sliders my man

As cool as physical gear is I think we're very much at the point where software is superior for the vast majority of use cases. I still have my lovely Moog and some other hardware but in reality I'm doing 90% of my work with soft synths and effects now.

Why buy a couple of 1176 compressors for example when I can get an excellent plugin for a fraction of that, use a ton of instances and save presets?

Hell, I recently switched to a Slate Raven MTi2 for mixing. Never looking back.

>analog
>shitty noise
>obviously knows nothing about audio

The majority of my outboard units are rack mounted, so I end up using mostly MIDI plugins to work with everything that's external when possible. Max for live has really helped streamline that so it's honestly about as efficient as software at this point.

>having to save patches for an 1176 clone
had a giggle m8
Honestly the only clones worth using are from UA and they actually are not "a fraction of the price" when compared to analog or DIY clones. I'd agree though that UA is spot on for most their modeling, not so much other software clones.

Trackers are unironically the best interfaces. I can't and won't use anything else.

>2018 digital audio processing
time domain audio processing is still slave to constraints of the shannon-nyquist curse, no general solution found.
can't bend waveforms arbitrarily without adhoc solutions and adding complication to software.
>digitalfags
analog is and will remain superior.

I'm considering getting into modular, but I hate the kind of music that's made with a fully modular setup, so I was thinking of using the modules as effects for the computer's output, or to sample them and use the samples more "conventionally in the DAW.
Perhaps even use modular generators with midi messages from the DAW.
Do you think it's a viable approach compared to just using something like Reaktor or Max?

What can modulars do that software can't (other than sounding analog, which I don't care about)?

Keep in mind that I'm not rich so if it's not useful I can't bother with it, as I don't want it to have fun but for new sounds and possibilities.

Thanks in advance.

youtube.com/watch?v=21xhOh9hMso
What do you think of colin benders? He's got some pretty dope tracks and I've seen one excellent live show so far.

Just download lmms and you have a squeaky burpy fartbox for free.

lmms.io/download/

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I have one of these! 6U, 108hp. Had to sell my Rene recently to pay rent and it's back to being half full, but when I graduate and get a 100k/year software job, I'll fill the thing up again.

I got a rack because I love this video haha
youtube.com/watch?v=7M1XPPIxzq0
So stupid but it's all I wanted to be able to do. I got a Yarns, clock dividers, some of the Tiptop drums, Braids, mixer, and the Doepfer waveshaper.

Why the hell would i want to install an aircraft cockpit in my house when all of it is in digital form on a computer?

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>autechre
i thought they used max for puking midi into modified gear?

'MOST' people who build this shit don't make 'music' with it. They sit around wanking to the weird wobbly noises all day and have 'events' with their geeky friends. The only people who use these well are people like Vince Clark and people who work in the film industry for sound effects etc.

They've used gear, they've used everything, but a lot of their newer tracks are completely digital using scripts they write themselves.

youtu.be/gKDlzswI7Ao
This album is untouchable

sounds like shit

ive been getting into max lately but its fucking convulted and i struggle to find references and examples at all for some things, even simple things like say i want 10 instances of a subpatch without copy pasting it 10 times, or i want to save and lookup values to dynamically assign to a fixed set of controls, or want to dynamically assign names to stuff that has global scope

ive found theres a neat reference for every object but not enough use cases or definitions about the objects or data representations expected for the arguments

Where I can find a Roland SC-88 Pro or SC-8820?
Or should I just get the Roland Sound Canvas VA (VST)?

no because i can't afford one

this roland looks cool youtube.com/watch?v=lHjRIg7Hgbs

just get Yamaha Montage you faggot make some music and get the bitches

youtube.com/watch?v=J9wzev494_k

watch 'I dream of wires'. amazing documentary on modular synthesis.

I have no idea how it works either, bud
Pic related from : soundonsound.com/people/autechre

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its pretty straightforward, you connect stuff to other stuff and create signal paths, the issue for me appears when i try to handle shit more abstractely and runtimey like one would in a normal language

I got that it essentially allows you to build digital modulars but I haven't messed with it

youtu.be/xVY1mqCeKvg
shieeet

little more complicated than that.

it lets you do audivisual stuff, mostly generative/procedural, i think one of the things autechre does is inputing two patterns and have the hits translate over time from A to B

What CPU?
How much RAM?
Do you have an SSD on that shit?

Richard D James does it better.

Anyhow
youtube.com/watch?v=mZ6xXaQcHHc

I'm a huge RDJ fan too but really its apples and oranges. RDJ is better at catchy melodies while autechre is better at using effects as instruments

That headphones amp on the middle-back will serve me to use my headphones with my computer?

I could fart about with one of these all day long

youtube.com/watch?v=LRoqZyNMa8E

This made me giggle

youtube.com/watch?v=9B8Xc7CbGs4

>people who work in the film industry for sound effects etc.

I think you’re confusing modular synths with a theremin.

There is no reason to use modular synthesis other than cosmetics.
HOWEVER, hats off to the guys who use them anyway. That shit is far too complex for me to handle and despite the fact that everything modular synthesizers can do can be done easier and more efficiently in software, it takes a kind of determination and expertise to use 100% hardware to make music.
(Still, if you're new to making bleeps, don't even bother. Just buy a couple midi controllers and call it a day.)

How is it more complex than software?
It works the same way.
If anything it's easier because you make your own routing instead of trying to guess/memorize the fixed one in soft synths.

Except lmms is shit.

It's obviously not for poorfags.

youtube.com/watch?v=V5Z0R9DS4u0

Bump