What kind of synth are you interested in? What sort of features do you need that you don’t have?
More poly? Weird wavetables? Heavier modulation options?[/quote]
that is an excellent question (and I have to admit, I have no idea! ) … to be honest… I just recently learnt in this forum that this very sound I was after, is probably not feasable to make without added computer manipulation …
thanks for ur previous text on that my setup is pretty solid already … ( i did plock the volcas, and was "boy, am I happy I didnt sell MD or MM)[/quote]
Well - isn’t that the challange after-all ?
To try to achieve with what you have BECAUSE it seems not feaseble.
For me the joy of sound-sythesis is exactly that.
OK, If I didn’t buy a one way ticket to Bali, I would definitely be looking into a Sequential Prophet 6 (from DSI) - sweet sounding analog poly (but not crazy like PEK or Ambika).
What type of monitoring set up do you have?
All of the synths and machines in the world are great and all, but people throw far too much money at buying cool gear and their mixes sound like ass because they’re using KRK Rokits or something.
It’s like getting your car all flash, but the engine’s shot.
With that kind of money you could get some Nuemann KH-120s (my personal favorites) and some Avantone Mixcubes (my second pair of personal favorites) and the rest of your gear would be far more worthwhile.
Hell, for that kind of money you could really go as far up as Focal Solos or Twins, which would make you a much, much better engineer and the need for so much gear wouldn’t matter.
You could actually buy some outboard gear like a Fatso and make that shit sing.
Get a Moog or whatever if you think that’s going to fill some void.
I suppose I don’t understand why people buy tons and tons of gear because they think there’s some inherent magic to them.
The gear you have without all the $4000 plus machines is fine, as-is.
Actress used a MnM, MD, and Ableton and made a number of legendary records.
Autechre used an MPC-1000 w/ JJOS, MnM, and MD and did the same.
I don’t think Anthony Shakir and Derrick May sat around wondering how to blow $10000 because they made legendary records with what they had.
Instead of NEEDING a Juno-60 or something of the like why don’t you take the gear you have and find your own sound.
Whenever I hear some gear from the 70’s or 80’s that’s been rinsed to death by everyone since that era I don’t think “Alright, a Juno-60” I literally think “Pffffft, tired ass bullshit”.
I personally would spend the money on better outboard gear and pocket the rest for when something fresh comes out.
Maybe buy a MacBook and Max/MSP and try something that hasn’t been done before.
yes, and you do get what you pay for. When a US Gibson Les Paul Standard 2015 costs 3759 USD it puts how much good value you get for synths. And there is no amp with that or cables or effects. How much is a brand new BMW 5 series? A car can take you places, but a synth or any musical instrument can take you places a car will never go.
ps, there is a town in France called Grande Synthe; love it
[quote=“” TrabanT""] to be honest… I just recently learnt in this forum that this very sound I was after, is probably not feasable to make without added computer manipulation …
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Sounds to me like you need to complete the Elektron Pentagram \m/, with an Octatrack.
Especially if you’re thinking about layers on layers.
there is no magic box that would balance out an investment of serveral others that sum up to about 10 000
I am on yamaha HS80 (which piss me off a bit tbh)
I live in a small room, I hear my neighbors sneeze, cough, eat their soup, and I feel extremely sorry for them that they have to endure my “music” … (thats why I try to not interact when I see them in the hallway)
there is no magic answer … I was hoping + fearing to hear: you took modular out of the question… but everybody will agree the Buchla XYZ which will set you back 20 000, but is worth every penny, no matter what else you buy, that is the pinnacle …
so no magical machine box for my once and for all … maaaahhrrghhh… I already feel a bit shitty for having started this thread (first world problem GAS thread …
but I will think of rerouting, sound treatment, my goals / my sound / my style, compressors, …
final thought; I might change my name from TrabanT to “creation and exploration”
I would be really uncomfortable to spend 10.000$ in music gear: like extra-spoiled and stressed by my lack of talent highlighted by such expensive gear!
and via a good mixer with enough aux - returs it becomes 1 big synth with the advantage you can experiment in changing the way all parts interact. It becomes a modular by the mixer.
Some around here suggested a A8 but I prefer an
AK + A4 ( or 2 A4’s ) as I have now. There’s much more possebillities than having it in 1 machine. I’m trying to money aside to have a good mixer - I think in this way every little machine gains in value. Even a crappy 2hand instrument or any sound-source can be fantastic thru a good mixer - going in - out tru others - FX etc…
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Very true.
I wonder if the OP has plumbed MnM into A4 and vice versa.
Remember, the A4’s headphone out is high quality. So keeping it wired to MnM’s inputs while MnM’s C/D outs are wired to A4’s inputs gives you one beastly monstrous hybrid synth with 26 LFOs and loads of possibilities. Always ready to go. That’s how mine is set up. Cost less than a P12 or Poly Evolver.
Homogenize them synths!
Another option to consider, as you have a powerful A4 with some solid modular capabilities, plus your MM which is a massive midi LFO machine, is some powerful oscillator options to use in A4’s external input oscillators.
Mutable Braids is a sick macro oscillator. Throw in an Audio Damage frequency shifter and a cheap Doepfer 32hp case and you just multiplied the sonic possibilities of your setup exponentially. And for around $750.
You don’t need a modular, but just a couple carefully chosen modules that expand and interface well with what you already have would probably give you the most bang for buck. The great things not about the A4/MM combo is eurorack doesn’t have to be a slippery slope at all.
My magic bullet for late night mixing and jamming . . .
Creation and exploration should be everyone’s name on here.
Without it, we would all just play acoustic guitars, sing Bob Dylan songs, and be content.
The journey’s supposed to be fun IE no one ever stops after making what turns out to be their best record/song/jam etc.
Well, except for maybe Kevin Shields, but even he was like “Let’s give it another go” after 22 years.
Had a Juno 106 & sold it a long time ago (after I picked up a 60)
IMO, the J6 sounds cold compared to either the J4 or J8 but lotsa folk still like it.
Can’t comment on the 2600… Never owned one.
Didn’t LOVE the A6 but it IS a decent sounding analog poly.
…However, I just loaned/exchanged my minimoog for a friends SEO Code 8 (w/ 2600 & CS 80 Filters) and wish I hadn’t. It’s one of the best sounding analog poly’s i’ve heard… and now I want one!!! But feel I have too many synth’s as it is. It’s not so much the cost, it’s how often I use (or don’t use) them. I can’t even remember the last time I played w/my 303.
Problem is, you’ll never know how much you like / LOVE a particular synth until you actually audition it. You can’t go by what you see/hear on YT cuz the audio is almost always sweetened.
I see a lot of people spending a lot of money on synths and drum machines and then running them through crappy (or zero) effects.
If you’re going to spend (or have already spent) a lot of money on decent synths (which you have), why not invest in a couple high end outboard effects units?
If you want to spend a lot, an Eventide H8000FW + Bricasti M7 (or Lexicon 480L) will get you there.
If you want to spend less, maybe an Eventide H3000 + Lexicon PCM 80 or 81.
The point being, adding some new quality FX to your system makes all your existing gear sound new and better.
