November Book Update: Hardware Synth Buyer's Guide
Added 2019-11-30 19:20:54 +0000 UTCHi!
Previous editions of my book have included buyers guides for expressive controllers/instruments and grooveboxes/samplers/sequencers.
I've mentioned before that I think synths shouldn't be bought with a checklist. Whenever I’m asked “Which synth should I get?”, I answer that my advice is never to listen to other people’s advice, but rather listen to the synth. A synth purchase, in my opinion, is a very personal decision based on a particular combination of sound, layout, your emotional connection with a brand/“mojo”/nostalgia (or simulated nostalgia if it’s a clone) alongside considerations of portability and affordability.
In light of the above, I didn't feel a sense of urgency to create a synth buyers guide, and this month's main update was planned to be about another topic altogether (coming next month unless some other controversy takes over!)
And then Poly D came along and opened up a can of online arguments regarding what falls within the definition of a polyphonic synth vs. a paraphonic synth and whether they're two different things or one is a subset of the other.
So, I started writing a section about that, which subsequently ballooned into a 16 page guide of features to be aware of when considering a synth purchase.
Does a synth need to have all the features in the checklist? Absolutely not! This list is a summary of what I look for when I review a synth, and I hope it will be valuable for you as you consider your next synth - not because it needs to have everything, but just you're aware of the tradeoffs made in its design.
The Hardware Synth Buyer's Guide starts on page 159.
Thanks for your support!
Ziv (attempting to untangle the complexity of synths online as "Loopop"...)
Comments
Thanks very much - happy holidays!
2019-12-01 13:08:42 +0000 UTCKeep up the good work! I really enjoy everything you share. Happy Holidays!
2019-12-01 13:02:52 +0000 UTCThanks, that's a useful little summary in and of itself. The ADDAC site (and near non-existent dcumentation) doesn't, as far as I recall, mention anything about the commonaity of the knobs!
Dave Peachey
2019-12-01 12:03:49 +0000 UTCIndeed I tried to give it attention in that video but obviously could have gone deeper. Yes, I still have it - but since I have so much in the pipeline a 506 dedicated tutorial isn't likely. I'm happy to answer specific questions. Here's a little mini-review, of pros and cons vs. maths: In some ways it's more powerful than maths (four envelopes, offsets, more io), but I feel the interface is a little too cluttered and when you want to set specific envelopes or LFOs you need to set them using common knobs and then lock them otherwise other envelopes will be impacted. Obviously maths doesn't have any of the random features. So, for creating generative pieces like I did in that video it's a perfect fit because it gives you both randomness and 4 of it (which is why I used it), but for all-round general purpose "mathsy" stuff, I still find myself gravitating towards the simple and knob-per-function interface of maths
2019-12-01 09:42:25 +0000 UTCWithout wishing to steal Richard's thunder, could I also make a request, please? Back in the video on generative music (and as also noted in the guide) you mentioned, but glossed over, the ADDAC506 function generator. Now this looks like an alternative to the MN Maths (and several other variations on that theme) so I was wondering if I could impose upon you to show us all what it's capable of doing (assuming, of course, you've still got one to hand). Many thanks
Dave Peachey
2019-12-01 09:35:23 +0000 UTCHi Richard, thanks and indeed that's going to be either my next video or the one after!
2019-12-01 09:11:11 +0000 UTCHi there, I'm hoping you're going to cover the Roland Jupiter Xm some time soon - really interested to understand what the AI arpeggiator does and also whether the sound engine is in fact identical to the new Roland Fantom - or different / more sophisticated.
Richard
2019-12-01 08:53:17 +0000 UTC
