Pro-3 is not exactly what I wanted - an enhanced Pro-2.
Do you guys think it’s reasonable to get a Pro-2 in 2020?
I think it is reasonable. I am personally more interested in the Pro 3 than I ever was in the Pro 2, but if the Pro 2 is your sound, then go for it. People are still after synths that are decades old, so why would a synth that is less than a decade old not be worth getting, or be obsolete?
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Could you tell me why?
My fear is that it can be “obsolete” in a near future.
How does a physical synth become obsolete?
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When something does what it does and more, or better.
in late 80s/early 90s everyone thought that physical drum[mer]s are obsolete. they were wrong 
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Drummers aren’t obsolete? When was the last time you hired one? Session work for drummers is dead. Electronic music and hip hop don’t use drummers (with the extreme rare exception) and those genres dominate the charts. Can’t remember the last time I saw a YouTube video by a user on this or any electronic music forum that featured a drummer. Jazz, country, and rock use drummers of course. But no one thought drummers in those genres would be replaced by drum machines anyway.
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I see a lot of HipHop stuff with live-percussion. That includes most of the time at least one drummer. So while there might be many Session Drummers in Studio for it, they are hire for touring.
On the other side: I think there are tons of Rock and Metal Releases out there, where you don’t hear a drummer playing, because of really good sample libraries and people start to learn how to programm drums without sounding like Sisters of Mercy.
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true but I would not use the 2400 to make hiphop, …although I like listening to it sometimes, making beats is mostly not for me.
When I saw Lusine and Shigeto play at the Ghostly 20th Anniversary show there were live drummers. Shigeto actually WAS one of the live drummers for his entire set. It was dope.
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Sisters of Mercy!
I prefer them to most modern rock and metal bands, precisely because of Doktor Avalanche’s refreshing simplicity and audible artificiality. It wasn’t pretending to be something it wasn’t. And you could dance to that stuff, instead of going ‘oooh aaah’ over double bass patterns and septuplets on the cymbals.
But I get your point – I’m guilty of programming sampled drums for sock songs myself, and the results were unexpectedly satisfying.
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Before I saw them live, and they were the worst band ever seen (maybe just topped by this final countdown cover that went viral some years ago), I liked them too.
They never denied using a drummachine and it was okay, but it was very obvious. Modern Sample Libraries, if programmed correctly sound more real sometimes, most drummer like to admit.
I saw them live in the mid 90s and they were absolutely great. Not showing off technical skills, but actually moving the audience.
I have the discussion about real vs virtual drums with our band’s drummer quite often: nowadays I like to lay down a backbeat with a drum machine or using a drum library in a DAW and then have the drummer go wild on top of it. Works quite well I think, as the drummer doesn’t like playing backbeats. But dancers love them.
i am the drummer 
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It’s not a NAMM news but I have three friends who work as professional drummers and one who is a semi-professional drummer.
you seem to be a dying breed. we need to save you!
I worked around that by learning real instruments 
runs and hides
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As a recording and touring drummer I’d say we are definitely not obsolete 
Lots of live acts with mainly electronic beats on record are playing with a real person behind drums/electronic drums - Chvrches, James Blake, Kate Tempest are good examples of this. It’s good to have a background in electronic music, knowing your way around electronic pads and that kind of stuff helps a lot getting jobs.
Times change but the need for a real person behind the pulse is always there, it just doesn’t sound the same. Depends on the music, of course, but I think that’s something that will never change!
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