From Brent Busby Sent Sat, Mar 24th 2018, 18:24
From Brent Busby Sent Sat, Mar 24th 2018, 18:24
Graheme Wilson <xxxxxxxxxx@xxxxx.xxx> writes: > Roland D20 - The first synth I bought is the D5 that I studied until I > could program analog sounds into it. The D20 is better because it has > effects and a disk drive. I worked as an arranger in a studio with > someone who had a D20 and he also owned the studio. > > The unknown synth I played in a Birmingham,UK synth shop many years > ago, with very little effort I was able to get the sound on "Running > Up That Hill" by Kate Bush It's funny how you can get attached to gear just because you've used it before. My first synth was a Yamaha V50. At the time I got it (1991), I figured it would get me up and running quickly because it had an 8-track sequencer, a floppy drive, built in effects, RX-series style integrated drums. I could add more later, but at least for awhile, I could get work done on the V50 alone, which I had to, because I was starting from nothing. The cold harsh sound of 4-operator FM was very disappointing, but I found ways of using it musically. The digital effects (which could either be completely on or completely off per sequencer track, and only one global effects patch for all tracks) did nothing to improve the coldness problem, but I worked with that also. I found that the poor overworked CPU would actually lag a bit during sequencer playback if you changed effects settings during play. It was kind of amazing actually... There would be a stutter, and then everything would be enveloped in an immense grainy reverb hall, and then another stutter, and it'd be gone. You could have the sequencer do this on its own with a program change command in the sequence. It was a great experience in working with what you have, not what you wish you had. I ended up selling it and getting an Ensoniq ESQ-1, another very useful master keyboard that I already knew a lot about from previous band experiences, much warmer, more analog. I'm still using an ESQ-1 as a master keyboard today, and still creating new patches on it all the time. But every now and then, I actually miss the V50. I can't quite answer the question when I ask myself what I need it for. It was just my first synth, and sometimes I miss it, even its limitations. It wouldn't be so bad to have now, now that I have warmer sounds available, and it wouldn't have to suffice by itself like it did before. (A mix done entirely on V50 is like spending the day in a walk-in freezer.) To bring this back on topic and answer the question what five synths would I like to add: 1. Synthesizers.com modular: For a long time, I actually wanted to avoid modular, because mostly what I want from analog is all the warm fuzzy tones, like tape left out in the sun too long. All the modulars I saw offered immense modulation capabilities, but -- this might sound harsh, so keep in mind it's my subjective opinion -- when it came to their actual tone, they just left something to be desired, at least to me. What good is being able to patch umpteen oscillator modules six ways if in the end, some of the 70's and 80's fixed routing keyboards you could get end up just sounding better? Then I heard the dotcom modules. Don't get offended if you have some other modular and you like the sound of it...but damn, I love their tone. I'm planning on getting a nice system someday. And then forget about having any money ever again, because I'll an addict just like everyone who ends up going down that road. The cops will make me spend the night in jail for analog modular substance abuse. 2. Korg Trident mkI: Just absolutely gorgeous. A bit specialized and weird (and isn't Korg just so good at things like that?), but what it does is just beautiful. 3. Oberheim OB-Xa: I already have the OB-8, and you would think that if I was going to get a second Oberheim polyphonic, I'd want the OB-X so as not to be redundant and have another CEM board. I thought that too, but I've done a lot of comparisons, and I think having the OB-8 and OB-Xa together would work for me. It's not redundant if it's the sound you're looking for. Of course, if you want to give me the OB-X, I really won't try to stop you. 4. Roland SH-7: I agree with the previous poster who said that it was the SH-7 for him even though so many people had told him to get the SH-5. I think I'm in the same boat. There's something about the SH-7 sound (especially when using the ring modulator) that just enslaves me. 5. Teisco 100F: It's amazing all the timbres you can get out of this obscure little thing. They're hard to find, but I think it'd end up being a real workhorse of a monosynth for me that would end up getting used on everything. 6. (I also want an SH-3A, but those aren't all that expensive, so I'm sure that should be easy enough...make it #6... Can it still be on the list if the price isn't so bad?) -- - Brent Busby + =============================================== + With the rise of social networking -- Studio -- + sites, computers are making people -- Amadeus -- + easier to use every day. ----------------+ ===============================================