Name one piece in your setup that you have learned the most from

This can be anything. Try to think of the item gave the biggest leap in the exploration and crafting of your personal sound. What did it make you realize? What made you want to buy that piece of kit in the first place?

It can be something like:

the guitar- this ones my personal pick. as someone who started off with violin lessons at a young age, I never really explored harmony the way I can on the guitar. I never really thought of chords on the violin because you’re really only ever playing one string at a time (minus doublestops), and that limited my view on the importance of harmony in music. now that I’ve gained a bit of experience on the guitar, I cant tell if I still think drums are the most important piece for where I want to take my sound at the moment. still have a lot to learn, but when I learned complex chords and how they transition between themselves, it led to the biggest improvement that helped me get closer to the sound that I want to claim. big shoutout to polyphia and their music for igniting that spark for me on guitar

a vst synth- many producers(if not all) that make electronic-birthed music will come in contact with synth plugins, and seeing how different synths are popularized and abused in different genres is super interesting to me. a lot of trap producers will hover around synths like nexus, omnisphere, and romplers. then you have serum, where basically every electronic subgenre gets some action, as there are oceans of subgenres created with just this plugin alone. also, in the soundcloud scene, there are a lot of underground artists that really dig in and use autotune as an instrument. super unique sounding vocals, stacks, and adlibs. turns out random atonal yelling into the mic can sound good(thanks yeat)??

an audio visualizer plugin- another thing that really helped me understand sound was the minimeters plugin. it includes a bunch of different graphs that really help you see different visual representations of sound. threw it on the end of my master bus and never looked back. this gave me a new layer of reference that I can use to further analyze and polish my sound just by running a-b reference tests, and helped me understand why my productions weren’t hitting the spot like some of the big name artists you see. it also touches slightly on the topic of aphantasia in music, but I want to create a separate thread for that discussion.

a mixer- where you learned how to properly blend different elements and really zone in and listen to how things sound rather than having to focus on creating or playing an instrument. I don’t have a dedicated mixer for my setup, but do want to purchase a mixer in the future, because as elektron users know, hardware shows us that having something immediate can definitely provide a completely different feel/workflow/result than sticking in the box

a certain drum machine- maybe you’re super rhythmically focused and this one machine just had the setup that lets you shine. the rytm is my second pick for my question. I got into fingerdrumming for a short bit in highschool, and when I discovered elektron I nearly shat myself. I knew I needed the rytm as soon as I knew it existed- analog synthesis/distortion? a compressor that I can crank and still have it sounding nice? a place to store all my beats? sampling, resampling the analog circuits, resampling samples, and then even more resampling? I think the rytm was my most guilt-free purchase, even though it gave my wallet a very healthy diet. right now I would argue its more fun for me to just find and memorize new grooves through fingerdrumming than it is for me to find new chords on the guitar, but I’m sure the party will make its way back to the guitar eventually- cause I need to get better at non-pentatonic soloing…

honorable mention goes to all the MIDI wizards out there, as thats another territory I need to explore that can be huge for where I want to take my music. I think that the MIDI system itself can be an answer for some, with just how many possibilities there are with controllers and software. I think its super cool being able to understand the intricacies of how these boxes work. I would love to just come up with ideas for instruments with unique use cases like they’ve done here at elektron, but there are a lot of intricacies between hardware, software, and electrical engineering that would be a big roadblock. Thats why I think MIDI works well for this answer. It kinda lets you bypass a lot of learning you would have to do in order to create an instrument yourselves. It definitely bridges the gap for people who have hardware and want to make custom setups. I haven’t learned how to properly utilize MIDI yet, but from what I’ve read on this forum, the possibilities are practically endless if you have an elektron box, a bomebox, and various types of MIDI controllers.

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Hands down, for me it’s modular. It really made me understand all the little functions which I used to gloss over.

Second place it’s the OP-Z. As its sequencer let me really experiment with rhythms. One example is how I stumbled upon Konnakol videos, I was instantly intrigued and realized that I could use the pulse and hold step components on the OP-Z to achieve similar results.

Here’s an example recorded from the OP-Z

Now my example is very arbitrary in comparison to the Konnakol masters and I’m very specific with saying that it’s inspired by Konnakol and that it’s not actual Konnakol

Here’s Konnakol in action.

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My first synth, a Roland SH-201. It taught me substrative synthesis at a time when I knew nothing about electronic music. I was only playing piano. I remember arriving in front of it and thinking “what the heck is OSC1?”.
It was 18 years ago.

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The OP-1 got me into electronic music. It taught me about recording, synthesis, sampling, sequencers, polarizing discourse within the music making community, the importance of knowing what you really need, the power of showing up and practicing, the potential unlocked by using gear that clicks with you… I owe it a ton.
Though I don’t use it much nowadays, I think it is a very expensive but incredible beginner tutorial. I revisit sometimes and I still love it. It is indeed a toy, and that’s why it’s so good to me.

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Not really a piece of gear but still…

About 30 years ago, being a kid with limited economic resources, without the Radium crew I wouldn’t have learned all the basics (sampling, synthesis, sequencing, recording, etc.) that eventually led me to a production and sound design career.

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Nord Modular!

It was my second synth, and with my first (a Roland XP-60, 90’s PCM powerhouse) I honestly learned next to nothing about synthesis. There’s a lot I could have learned, but like a lot of PCM synth users I mostly used it as a preset machine, at most maybe tweaking the envelope or filter a little.

It was the Nord that taught me nearly everything I now know about synth architecture and sound design. First subtractive synthesis, of course, one module at a time, building more and more complex patches. But then I found the free book Advanced Programming Techniques for Modular Synthesizers that used Nord Modular patches as examples, and I started learning about more esoteric forms of synthesis.

That synth blew my world wide open.

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SH-101 when I was young, many years ago, the perfect synth to learn about analog subtractive synthesis, not too much to overwhelm, great sound. Perfect.

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A piano and a MS20.

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All in all the digitakt thaught me how to reduce the arrangement without losing the whole idea. but when it comes to the last few months: i bought the mpc one and sp 404 to try new things. especially the sp 404 and respective resampling workflow pushed me towards “well i could do that with the digitakt as well” i sold both but do have now a new trick/technique in my repertoire

the octatrack. things don’t have to be complicated.

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hmm…the piano I learnt on has gone/replaced, so that cannot count.

from what I have still… the Eigenharp Alpha !

Id taken a break from music for a while, and decided on return ( 10 years ago!) , I wanted to see ‘what was new’. and wow, what a journey.

I had to learn about daws, and software synths and midi… there was no mpe back then, and eigenD (its software) was also modular… really everything about modern electronic music was there to learn.

and on a musical side, I learnt so much, about how all this comes together - how the cold/sterile world of electronics and computers can be expressive to feed emotions!

fortunately, I was introduced to some fantastic musicians who really nurtured by interest and skills, and encouraged me.
and, it was this support from the community that also made me learn a whole new sphere…

I wanted to ‘give back’ to the community, so decide to start using my (existing) programming skills to further develop the software, and so learnt about programming in music tech, and dsp.

as they say, from theres its history…
played on almost all expressive electronic music instruments/controllers,
programmed everything from low level firmware (axoloti/bela) to vsts (percussa) and vcv.
been fully computer centric to dawless.

all from that simple thought ’ I wonder what modern technology can do for music making?’
… and I still wonder :slight_smile:

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It’s a cumulative thing. That “one piece” continues to change over time, contributing to and influencing the idea of “what I’ve learned the most from”.

In the beginning, a basic portable tape recorder. Listening with intent, capturing that sound with the built-in mic, and then marveling at the result.

Later, I had access to an upright piano, and with it began to play and read music.

The first synth I got hands on time with was the Roland System 100. It was the beginning of understanding signal flow. Electricity!

Much, much later was the DSI Evolver. It’s a stereo input/output treasure box of sound and routing ideas. I still have it.

Presently, it’s the Korg opsix native. The hardware versions don’t interest me at all. But as a synth, it took what I knew of FM synthesis techniques and turned it on its head. It’s currently my favorite playground for learning.

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For me it was Rebirth software.
I learned I like such things :+1:

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Arturia’s Pigments is the most visual synthesizer, hardware or software, that I’ve ever seen. A quick scan at the screen and you can see the difference between a 4-pole and 2-pole filter, wavetable scanning, envelope shapes, macro levels, you name it. And if you want to modulate anything, you just drag a wave shape over to the right knob, set an attenuator, and you’re all set. Pigments remains my #1 rec for anybody who wants to learn synthesis beyond playing presets.

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Logic on PC back in the day… Learnt a ton from that software since I couldn’t afford much then. Shout out to Rebirth too @gekkonier! The acid is within us all…

These days I get a lot of learning from Drambo (too skint/tight to risk the hardware modular route…). Taking apart other people’s patches from patch storage is a great way to learn Drambo so I fully recommend that.

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For me it was Nord Modular G2X. My first true synth (before that I had MC-909). And while some might think that’s because it gave me visual feedback of whole synth structure, then I must say “no”. The reason for my best learning experience with my Modular G2X was because it had one of the best manuals written. It explained not only what is what, but also how to make best use of the tool. Like the advice that it’s better to make small changes in sound, to explore creating patches in small steps. And for me that was the most important lesson, because before that, with my MC-909 I generally tended to program whole patch more or less knowing what I wanted and going there with all parameters without even listening to what I am creating or skipping above. Then there were small changes. But then I read that passage in Clavin’s manual and I started discovering new territories. Now I carry mixture of both approaches. :]

Cordially,
Norman

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Nord Modular G1 keys
Mackie 1604VLZ Pro
Yamaha FX770
Akai MPC2000
Cubase on Atari ST
Cubase VST on a PC
Cool Edit 96
Metasynth

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MPC forces you to understand everything, really. Not just the nuts and bolts of sampling, but effects, processing, mixing, mastering, and synthesis depending on which plugins you want to use. Almost two years with mine and I feel like I’ve figured out maybe 10% of the full range of functions it can perform

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My spouse insisted that I try the Minibrute - I really thought I was going to break it or something with all the wires. But I figured out a lot about how changes in timbre can really affect sound, and how relatively simple content in terms of notes/sequence come alive as you shift things. It’s still my favorite instrument to perform with when I record stuff - very spacious with big knobs and the oscillator mixer faders. Sorry I stole it, honey. :laughing:

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I’ll break it down into eras.

My teens: Voice. I was in choir in high school, which taught me basic music theory and also started me thinking about phrasing and articulation.

20s: Guitar. My grandma bought me one in my teens after she saw how much I liked Guitar Hero, but I really dug into it in my 20s. This was important to me for working out the relationship between melody, harmony, and rhythm, plus doing multiple musical things (play and sing) simultaneously

30s: Dirtywave M8. I found out about it through a combo of laamaa’s music on reddit, cupfungus’ YouTube tutorials and music, and the thread here. M8’s dense visual information and song-oriented structure (plus synths and sound design tools) pushed me to learn song structure, arrangement, and some sound design

Honorable Mention: Model Samples. I got it after looking for a sample machine to program drums for my guitar playing. It did a few important things for me: 1) plocks and conditional trigs made me think about how small changes can radically alter the way a song feels, 2) it gave me confidence to try making beats again after years of failed on-again-off-again loopmaking in Audacity, and 3) it brought me to one of the most welcoming music communities on the internet

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