#218

The statement doesn’t factor in the power of GAS, of course, but when I played it I commented to a friend who I was there with that it felt like a “last synth I’ll ever need” type of instrument

#219

Just fell off my chair listening to the summit :slight_smile:

clones can gtf, summit it is

m

4 Likes
#220

You can imagine what I was like stood in the middle of Synthfest with headphones on, lost to the rest of the world and immersed in the sounds it was making!

2 Likes
#221

The peak and summit are the synths I’ve been most interested in, outside of modular, in the past few years.
The new wavestate from korg also looks and sounds brilliant. Hopefully they’ll release a module version, like they did with the minilogue XD.
With such interesting new synths being available, the clones don’t interest me either. I’ve just bought a korg volca drum as it’s a completely different take on a drum machine, rather than an 808 / 909 rehash.

4 Likes
#222

I’n in the same boat. I want hardware to offer me something new and substantial to the experience of making music. To me modular is the ultimate hands-on experience, I understand the appeal for hardware Minimoog Clone so you can turns that tasty cutoff knob, but it comes nowhere near the experience I have with my modular. It feels like crafting more than tweaking. And if I need Moog sound, or 909, or 808 or something, I have VSTi’s and samples which are good enough for me and so damn handy. Boog could be cool to play for an afternoon, but if I had one I think I would most of the time turn to softsynths anyway because it’s so convenient. People say it’s great that Behringer offers people who can’t afford vintage gear the possibility to get these sounds, but come on, everybody has access to Moog basses and 808 kicks anyway. I mean, I’m not opposed to people being able to make music, affordable gear is amazing and even 20 years ago I wouldn’t have had any possibility to have as powerful setups as I have now, but it’s kind of weird argument. It’s not that people only now have access to these sounds, it’s that they can have hardware because they want hardware and want it for very little money. It’s kind of a different thing.

6 Likes
#223

Also, on the Moog angle, there is the Werkstatt which is incredibly affordable and very much the genuine Moog sound (whilst also being an actual Moog).

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#224

If I had to use a computer to make electronic music, I would stop making electronic music.

As far as softsynths making the “same” sound … well, out of all the dozens of shows I’ve booked and hosted, and the 130 or so I’ve performed at with the modular (each with 2-4 other acts), and the hundred+ I’ve done sound engineering for, I have yet to hear a computer sound like the real deal.

#225

Of course I’m not saying that everybody should just use computers. Not everybody should use Behringer clones either. And when it comes to “real deal”, are Behringer clones “the real deal”? How do you define real deal? Does hardware modular with digital modules, essentially small computers, sound like the real deal? Are the sample based hi-hats on a vintage 909 a real deal?

Conversely, if I couldn’t use computer I wouldn’t make electronic music. I don’t have room or cash for even a pretty basic fully hardware based setup, let alone what I’m able to do inside a DAW. To each their own.

5 Likes
#226

In this case I define “real deal” as analog circuits.

There are a few digital-based modules, like the original Piston Honda I had for years, that behave and sound like analog, sure, but IMO most don’t. I have two Plaits, and while they sound great (especially in the wavetable, noise, and resonator modes) they don’t do a great job at replicating analog oscillator sounds. This becomes especially apparent at the edges of performance, like with heavy FM etc.

Whether the sound is “better” is a matter of artistic taste. I simply don’t agree that the same sound can be achieved in software (yet).

#227

I certainly can understand the argument of hardware vs. software from a tactile standpoint. The rest is a very slippery slope as its all really a matter of artistic taste no matter whether the sound is a full blown 5u analog modular or a Casio keyboard sampled with an iPhone.

2 Likes
#228

Agreed with Plaits. It’s often close enough for my needs, but audio rate modulation really pushes it.

1 Like
#229

While I have been watching this thread for some time and have generally chosen to stay quiet, I feel as if it has gone a bit sideways.

In many ways a lot of the discourse here has run uncomfortably close to gate keeping the community based around the perceived validity of equipment and it’s origins.

I don’t own (nor am I particularly interested) in any Behringer equipment. I am also not particularly thrilled with the ethical/moral aspects of how some of their equipment is developed. But I would like for us (myself included) to practice prudence around how we speak about these tools. We talk about premium priced tools that have an EXTREMELY high bar for entry, especially in the prosumer space I myself fall in to and assume many others here do too.

We all love sound and the act of making it. We all are here for the same passion. When we begin to suggest that something shouldn’t exist or it might be ‘far cry from what it should be’ we potentially alienate those who might not have the means to purchase original equipment due to availability, geography or funds.

If anything I’m just putting out a call for us to take a step back and recognize that great music can come from anywhere, a moog, a behringer, a toy drum, a tabla, anywhere. Let’s not unintentionally chase off any potential members of the community by setting standards for the sake of our own preferences.

I don’t like to take stances like this, and I am hoping it comes off in the best light possible. Correct me if I’m off base, since many of the arguments here I agree with. It’s just, this is a world wide community and I recognize the discomfort and embarrassment many might feel when their choices based on economic factors put them outside of the pack.

40 Likes
#230

well the “Bro-one” came and i hooked it up to M4L.
it’s kind of like your “dream-mod” of a Pro-one. The filter is nice and it sounds pretty damn close to the real deal [or as close as i got in 1995 with a replacement SM chip]
It has MIDI and a bunch of euro connections and some dip switches for some extra stuff and it will also go poly. So it’s not really a clone and maybe more of a mutant hybrid :slight_smile:

5 Likes
#231

amen to that!!

I also love soft synths and any synth come to think of it :slight_smile:

#232

This has peaked my interest somewhat:

https://www.google.co.uk/amp/s/www.soundonsound.com/news/hydrasynth-everything-wanted-synth-decades%3Famp

WOW!!!

1 Like
#233

Looks lovely but at $1600 I think the target market isn’t the same as the B-clones.

I actually like the look of the Argon8 as a competitor to the behringers. It’s still more expensive though.

Edit to add: I am somewhat interested in the “Bro-One” as it represents an affordable synth that sounds (on YT at least) really nice.

2 Likes
#234

The era of synth companies cloning their legacy like Fender is here: https://www.engadget.com/2020/01/14/korg-ms-20-FS-synth-full-sized-reissue/

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#235

ron-paul-its-happening.gif

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#236

(20 characters of snap!)

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#237

They’re all too wide for my liking :frowning:

1 Like