the watmm GAS thread

  On 10/5/2017 at 5:52 PM, Djeroek said:

I ahve no use for it, butsaw this on the Renoise forum;

http://xor-electronics.com/nerdseq/

Should've put a VGA output on that so you can hook up your own monitor.

Despite my raging boner for trackers, I think I'll stick with Renoise/Redux.

 

I think the beauty of them is tightly integrated with a qwerty keyboard.

 

A Sega genesis controller sounds awesome, but I feel like it would slow me down a ton.

Yeah, that's why I never really got into chip trackers like lsdj; controlling a tracker with a dpad and 4 buttons kinda goes against what makes a tracker fast/efficient to use imo.

 

On a related note, I finally bought Redux after being indecisive since it was announced; I didn't realise that Renoise users get a discount! I'm looking forward to essentially having a tracker interface within Reaper.

They're just making everthing they can before the bubble bursts. When it does maybe i'll dip my toe ha.

  On 10/5/2017 at 6:34 PM, messiaen said:

i honestly dont see the point. you could buy a laptop, a cheap DAW and an expert sleepers interface for the price of that thing.

Yup. But, Eurorack so...

  On 10/5/2017 at 9:26 PM, Chesney said:

They're just making everthing they can before the bubble bursts. When it does maybe i'll dip my toe ha.

100% truth. I doubt I'll ever dip my toes in but hey who knows.

 

 

  On 10/5/2017 at 9:45 PM, auxien said:

[

 

  On 10/5/2017 at 9:26 PM, Chesney said:

They're just making everthing they can before the bubble bursts. When it does maybe i'll dip my toe ha.

100% truth. I doubt I'll ever dip my toes in but hey who knows.

you guys think the synthesizer/electronic instruments industry will dip? or what are u referring to?

^ the Eurorack bubble. It's insane, it's bound to burst or at least deflate.

  On 10/5/2017 at 7:09 PM, MIXL2 said:

 

  On 10/5/2017 at 6:34 PM, messiaen said:

i honestly dont see the point. you could buy a laptop, a cheap DAW and an expert sleepers interface for the price of that thing.

u talking about that tracker or the thyme?

 

no i was talking about the percussa eurorack computer, its about 1200. as if that wasnt enough it has an expander that costs another 600.

Edited October 5, 2017 by messiaen

  On 10/5/2017 at 10:45 PM, messiaen said:

 

  On 10/5/2017 at 7:09 PM, MIXL2 said:

 

  On 10/5/2017 at 6:34 PM, messiaen said:

i honestly dont see the point. you could buy a laptop, a cheap DAW and an expert sleepers interface for the price of that thing.

u talking about that tracker or the thyme?

no i was talking about the percussa eurorack computer, its about 1200. as if that wasnt enough it has an expander that costs another 600.

jesus wept

  On 10/5/2017 at 10:42 PM, auxien said:

^ the Eurorack bubble. It's insane, it's bound to burst or at least deflate.

aye, I guess... I have been playing with the idea of becoming a part of this industry, that's why I ask

i dont think its actually that big of a thing though. i mean maths is the most sold module and it has only sold a few thousand. the gear is expensive, but it doesnt seem like its some huge profit generating industry. 

I dunno man. Obviously there's lots of white guys with too much money why want to spend it on little bleepybloopy gadgets. Synth sales are (seemingly?) on the rise over the last 10 years, as is music software and various other hardware shits. I'd love to get in on the MIDI device side of stuff personally because I have a lot of ideas for it, but I have zero mechanical know-how/money so...yeah. I'm not actually into Eurorack (if you couldn't tell lol) nor a businessman either, so I wouldn't put much weight into my 'feelings' on the industry really. 

  On 10/5/2017 at 10:56 PM, messiaen said:

i dont think its actually that big of a thing though. i mean maths is the most sold module and it has only sold a few thousand. the gear is expensive, but it doesnt seem like its some huge profit generating industry.

I didn't mean eurorack specifically, just becoming part of say teenage engineering, or korg or somethin.. u know what they say, if u like something find a job doing that...

Gear on the whole is here to stay. People went software and still craved for stuff. It will always be around now.

I feel that modular is a fad not becuase the of the gear but because of the people who buy into it. I don't think people have that much patience and when they realise that it's ALOT of work to get musical things out of all that stuff they will lose interest and move on to something with more instant gratification. No doubt though, lots of people have fallen in love with that model and it's here to stay but even more people will fall off the bandwagon.

I think some people have it as a sort of trophy because it's so in vogue.

Like I said, the bubble will burst and there will be lots of stuff to be had for the people who really got into it and for people with the right geeky inclination to really delve deep and get inovative with it all. It won't be the end of modular, it will be reborn again but things have to go through the age old slump to get stronger.

  On 10/5/2017 at 11:15 PM, Chesney said:

Gear on the whole is here to stay. People went software and still craved for stuff. It will always be around now.

Yup.

 

Teenage Engineering, however, dunno how long they'll be around... but I'm a bit cynical about their stuff, maybe they'll be amazing one day (or already are and I'm just an old bastard).

They seem well rooted for now. Their stuff is insane. It's not for me but perfect for lots of people. Looks gimmicky but seems to pack lots of great stuff.

The price has gone a bit crazy, the Monologue is a complete analog monosynth with a keyboard, integrated midi and a sequencer and it's only 300 US dollars. The Intellijel Atlantis costs 700 and you still need a power supply, a case, a sequencer and a keyboard controller that sends cv. I don't get why these modules cost more when they don't even have metal enclosures, just a front plate.

Edited October 6, 2017 by Cheladrix

  On 10/5/2017 at 11:20 PM, auxien said:

 

  On 10/5/2017 at 11:15 PM, Chesney said:

Gear on the whole is here to stay. People went software and still craved for stuff. It will always be around now.

Yup.

 

Teenage Engineering, however, dunno how long they'll be around... but I'm a bit cynical about their stuff, maybe they'll be amazing one day (or already are and I'm just an old bastard).

 

 

 

  On 10/5/2017 at 11:22 PM, Chesney said:

They seem well rooted for now. Their stuff is insane. It's not for me but perfect for lots of people. Looks gimmicky but seems to pack lots of great stuff.

 

TE is awesome. Obviously not for everyone, and not really very deep machines, but very playable and inspiring. Funnily, I don't have any of their products anymore but would get an OP-1 again if I could afford it. I'm actually considering getting the PO-32 but am holding out in case they announce a sampler or something, which would be super useful in a PO format.

 

 

  On 10/6/2017 at 12:46 AM, Cheladrix said:

The price has gone a bit crazy, the Monologue is a complete analog monosynth with a keyboard, integrated midi and a sequencer and it's only 300 US dollars. The Intellijel Atlantis costs 700 and you still need a power supply, a case, a sequencer and a keyboard controller that sends cv. I don't get why these modules cost more when they don't even have metal enclosures, just a front plate.

 

It is a ridiculous difference, but I'd put it down to economy of scale. Korg is producing and selling so many monologues, while most modular manufacturers are small boutique businesses.

When the POs first came out they looked so stupid to me it made me angry. Then something clicked and I realized they are great with the volcas andI snagged a 12 and a 32 in quick succession. I think they're actually better than the volcas in some ways - pattern chaining, fast sequencer, ergonomics, punch in effects, sync options, ridic battery life.

The sequencer is a bliss, having them as drum maschines is tru joy

Yeah I'm definitely not suggesting TE are shit, a lot of people love their stuff and I've played with a OP1 a little, it's always very interesting and the interface is different.

 

My 'problem' with them is they don't seem like they're serious about making music or creating tools for music. They seem to be much more into making a brand and 'toys' for lack of a better word than tools for music.

 

That ain't a dig at the smallness of their devices, I think the PO line is actually pretty genius for what it is, and cost effective and so on. But the POs seem purposefully cheap and disposable almost, like it seems there's almost some snark inherit each time they release a new one, like they're probably laughing at how many of these fucking circuit boards they're selling (this obviously could just be my personal bias). 

 

The OP1 and what little I've seen of the OPZ seem much more interested in being cutesy and often purposefully obtuse than being intuitive or user-friendly. 

 

I've got no problems with them doing what they do of course, again, they've got lots of fans, but I'll say this much: it's RARE that I've seen anyone put out anything good from any of their devices. I've seen tons of sketches and 'fun' things and seen some awesome PO jams, and occasionally I've heard people say the synth line was from an OP1 or something, but overall their stuff isn't particularly useful for crafting complete, purposeful, unique, music. Rarely if ever have I heard anything that I knew was TE and thought "wow, that's a great sound!" because that's just not what they're trying for...They don't belong in a studio, basically (heavy personal bias here), they belong on a couch.

 

AND THAT'S FINE so cool your heels before you think I'm being a jerk! Couch music is fine, and different approaches are fine, and really I don't have a problem with that in and of itself....it's more the TE trying to be a 'brand' more than focusing on making musical devices that irks me, I guess. They've got a fucking shoe for sale for christ's sake. They've released two types of musical instruments so far (OP and PO) and already have a shoe for sale. It just seems silly. This is definitely a rant, IMO goes around everything, don't read too much into it everyone. I'm done :)

 

 

  On 10/6/2017 at 2:19 PM, sweepstakes said:

When the POs first came out they looked so stupid to me it made me angry. Then something clicked and I realized they are great with the volcas andI snagged a 12 and a 32 in quick succession. I think they're actually better than the volcas in some ways - pattern chaining, fast sequencer, ergonomics, punch in effects, sync options, ridic battery life.

See, the Volcas are cheap and small and 'couch' friendly but also highly useful and unique and interesting. I've heard tons of volcas stuff that felt full and rich, PO stuff always sounds meh/lacking. To me, obv.

 

 

  On 10/6/2017 at 1:54 AM, modey said:

 

  On 10/6/2017 at 12:46 AM, Cheladrix said:

The price has gone a bit crazy, the Monologue is a complete analog monosynth with a keyboard, integrated midi and a sequencer and it's only 300 US dollars. The Intellijel Atlantis costs 700 and you still need a power supply, a case, a sequencer and a keyboard controller that sends cv. I don't get why these modules cost more when they don't even have metal enclosures, just a front plate.

 

It is a ridiculous difference, but I'd put it down to economy of scale. Korg is producing and selling so many monologues, while most modular manufacturers are small boutique businesses.

 

Yeah scale probably has a lot to do with it. 

  On 10/6/2017 at 4:17 PM, auxien said:

My 'problem' with them is they don't seem like they're serious about making music or creating tools for music. They seem to be much more into making a brand and 'toys' for lack of a better word than tools for music.

 

That ain't a dig at the smallness of their devices, I think the PO line is actually pretty genius for what it is, and cost effective and so on. But the POs seem purposefully cheap and disposable almost, like it seems there's almost some snark inherit each time they release a new one, like they're probably laughing at how many of these fucking circuit boards they're selling (this obviously could just be my personal bias).

 

I actually agree with almost all of this. Sometimes I think about what TE's deal is, I'm really not into their general vibe, and then I feel like by being into the POs I've become one of those vapid hipster types that I used to hate, lol.

 

But when I think of the PO-12 as a glorified pocket TR-505 it's just great.

  On 10/6/2017 at 4:17 PM, auxien said:

 

  On 10/6/2017 at 2:19 PM, sweepstakes said:

When the POs first came out they looked so stupid to me it made me angry. Then something clicked and I realized they are great with the volcas andI snagged a 12 and a 32 in quick succession. I think they're actually better than the volcas in some ways - pattern chaining, fast sequencer, ergonomics, punch in effects, sync options, ridic battery life.

See, the Volcas are cheap and small and 'couch' friendly but also highly useful and unique and interesting. I've heard tons of volcas stuff that felt full and rich, PO stuff always sounds meh/lacking. To me, obv.

I've tried the PO-12 on its own and I tend to agree, it needs a friend. But, for example, its crunch is a great complement to the fluffy, round volca beats sound. And I've done some jams where it was just the rhythmic support to a fat bassline and for meat and potatoes drums it's a champ. It sounds good enough and has just enough functionality to do the job without getting in the way. And of course it's tiny and super easy to use.

 

And the PO-32 is a miniaturized microtonic in a PO... it's stupid powerful. It's the kind of hardware I've literally only dreamed of.

 

I can't vouch for the others and they do seem more toy-like and less useful to me. But for my money those two are solid for what they are. At the very least, yeah, they are great couch/bus gear and are great for quick beat sketches without having to stare down an LED screen. You barely need to look at them after you get a feel for where things are.

Yeah, I should walk back a touch and give that Tonic PO release credit where it's due, that seemed to be much more unique and powerful than anything else of that line.

 

But also that sort of plays into my point because they partnered with someone else in order to make it happen. Someone who was focused on, ya know, making tools for music ;)

  On 10/6/2017 at 5:04 PM, auxien said:

Yeah, I should walk back a touch and give that Tonic PO release credit where it's due, that seemed to be much more unique and powerful than anything else of that line.

 

But also that sort of plays into my point because they partnered with someone else in order to make it happen. Someone who was focused on, ya know, making tools for music ;)

Lol, true. Magnus seems to have really done the lion's share of the work there.

 

But TE also developed the PO form factor and it works really well for the PO-32. It really is a nice model for a little beatbox.

So the guy I know through work who was getting rid of the DX-5 that turned out to be a DX27 finally actually found it and is going to send photos, but he mentioned that it is missing the 12v power supply so now I'm thinking there's a good chance i's a DX-100 which would actually be pretty cool after all.

 

No idea about that mysery Korg, my friend who had the line on it is so busy running his shop he probably didn't even remember to ask about i.

I would love a DX100, even though I have the reface DX lol

 

Speaking of the reface, I've finally been giving it some time; programming patches is becoming easier. I came up with some rather analog sounding pads, and a squelchy acid sound that I sequenced with the octatrack:

 

https://www.instagram.com/p/BZ-kohJFhLJ/

 

https://www.instagram.com/p/BZ-hLO0lcC5/

 

The CC-controllable parameters (operator level, feedback, frequency, algorithm) are pretty great when parameter locked :D