Gear reviews, interviews and features for people who make music by any means. Weekly Sonic TALK podcast, video coverage from NAMM, Superbooth, Synthfest and other major music expos. Please consider supporting us on Patreon.com/sonicstate
17:07 A.I. doesn't stand a CHANCE of taking away my enjoyment and satisfaction of playing instruments and completing a track and releasing it for no one to hear😁. and I'm only half joking hear. My tracks are my creative DNA that no amount of technology can sway me from the satisfaction of. no amount of streams or cash intake can make me enjoy them any more than I already do. I would be surprised at all if A.I. where music creation is concerned is the 3D, Interactive TV or NFTs. We get all hyped and excited for new tech and bow down to it before we even realize whether or not it has staying power.
Lovely review. Thankyou. Covered all the points I was wondering about. Fully agree about sostenuto, probably not something everyone is familiar with as it's a grand piano pedal feature but super super useful on an expressive polysynth like this.
JAJAJAJAAA...JAJAJAJAAAA...OTRO APARATO MUSICAL PARA LAS BUENAS MENTES Y DAR BUENOS MOMENTOS CON LAS MUSICAS...BIEN ANIMO GENTES Y ENTERAROS DE LAS COSAS MUSICALES COMO VAN Y VAMOS QUE OS LAS ESTOY EXPLICANDO...
When I saw the Osmose synth and its harsh digital sound engine I wish that it is analog. So Arturia did it as close you can get with analog and it sounds gorgeous. Hope the keyboard will come to the Polybrute 6.
@pittsburghmodular Richard Nicol makes a good point about the availability of parts for the small industry of electronic music instruments being enabled by the far bigger need for components in military, aerospace, automotive and other manufacturing industries. A similar thing actually happens when it comes to the availability of pigments used in artist's paints, new pigments being developed not for artists, as they themselves might sometimes feel, but for the automotive industry. Many traditional pigments are either too weak in colour to allow a thin coat of varnish, too big in their grain making it hard to get an even colour, not fadeproof, or harmful to people and the environment in the case of lead, chrome and cadmium. This meant that together with the boom in car ownership there was a huge incentive to develop new synthetic pigments (or improve the industrial processes for making them) that were intense, lightfast, and not too poisonous, with a potential worldwide market worth billions. You simply cannot sell cars that visibly fade even slightly in less than 7 years of daily sun exposure. That is why today, practically all brand-name artist's paints are fully lightfast, come in more intense colours, and are less poisonous, but it's in many ways just a byproduct of the automotive industry that enabled the evolution in artist's materials. Unlike for electronic components, however, it took 40 years before some of the automotive pigments trickled down into the art market, the selection being one that used to be decided by nostalgia and tradition rather than by innovation. I worked in an art supplies shop through the Noughties, and the selection was still at the tail end of a long drawn-out transitional period between the traditional and the innovative, so I saw several of the traditional pigments being phased out and new ones introduced, during a time when there also seems to have been a greater obsession with lightfastness among hobbyist artists than before, and new industrial pigments provided what the market was asking for. I find it interesting that many of the things we do in art are enabled by industry. And of course many of the ideas that turn into industry come from art. Design is applied art. We shouldn't see art and culture as separate from economy and industry. They are actually integral, if somewhat unequally weighted, parts of the same ecosystem of human progress, or - in view of the current environmental situation - something we need to understand to find a sustainable equilibrium.
For me one of the best all round devices ever made in a tiny package you can take anywhere with superb battery. I have the original red led version which I would never change.
Love Paulee's point about the semi-modular way in to Eurorack. I went down the Eurorack rabbit hole a bit and after not really ending up in the right place I'm taking a step back and looking at a semi-modular voice as the new center point of my Eurorack set-up. I bought a Moog Mavis, which is great. But I pulled the trigger on the Atlantix almost immediately after I saw it. Anyone want to buy a Moog Mavis?! :D
Paulee's guy with the cardboard box modular case story - That sounds suspiciously like MylarMelodies He made a cardboard eurorack case and it definitely had an Atlantis in it. You can find the video on his RU-vid channel where he shows how to build the cardboard case. It was posted 9 years ago.
Really appreciated this candid interview, along with everyone’s perspectives. Big Stimming fan here. Thought he was a weird, quietly spoken, German synth nerd, RU-vidr influencer guy, until I later discovered him as an artist. Mind. Blown. Favourite current electronic artist. It’s about the textures he creates for me. Thank you for this interview.
Oh no! My addiction to CB pedals . . . there should be a 12 step recovery program for this sort of thing. Well, all joking aside (sort of), this really is an interesting concept. I had actually thought about some sort of AI driven sample engine as a concept, but had no idea anyone would actually create a pedal for this (was thinking more along the lines of a DAW plugin), but hey, this is an excellent rendering of the concept in hardware. OK, this one is next on the list . . . Meanwhile, about that CB guitar . . . truly dangerous.
I also don't think the vast majority of people are interested in the human connection part of music. Vocaloids are a huge deal. Production pop music and assembled pop bands are still a big thing. The ones looking for human connection and who value the musicianship are not the majority by any stretch. It'll become like furniture. The vast vast majority of people will buy stuff from Ikea and Amazon, and only a handful will ask for the custom-made dining room table made by a real woodworker.
But pop that conveys or captures emotion or states of mind well does resonate with the audience. What's odd to me is that pop production has a tendency to be more clean, perfect and synthetic generally
@@sonicstate Much of it does for sure. But I still think we're both underestimating what will come out from generative AI, and overestimating the general population's desire for a real human to be making the music. Maybe I'm wrong. Some of my favorite bands are one person, and then anonymous musicians (Ghost, for example). In the future, it may be that one person's vision, and AI handling all the rest. Still human from his aspect, but 4-5 musicians no longer involved at all.
Only if the person asking has no idea what they are doing. I use it when I just want the simple solution or function and the time it would take for me to research, test and write it would be a faff. I wouldnt hire a coder for mst things anyhow and I would never use it to create anything more complex
@@sonicstate Yeah. In that way, it's more like the production music that AI is most likely to take away (corporate presentation music, etc.). It still eats into the industry, but into the low-hanging fruit.
The AI artist need, indeed all music consumers, is the one that will scan databases of music/other art and return art that a person wants/wants to hear, and nothing that they don't want to hear. Based on mainly qualitative factors.
@@sonicstate That has been the problem all along - the gatekeepers. They distribute what they want to distribute and at their price. I'm believe there is a solution to bypass them all, it just hasn't been discovered yet.
Stop freaking out about AI, use it as a tool. The biggest threat to your career is not moden AI but rather traditional, biological AI, and there are billions of them. So nothing has changed.
The AI conversation was a good one and music made by humans should always win out… however I believe most of the music played via Spotify playlists are made up by in house AI musicians with most of the income staying in house!
came to the same conclusion unfortunately :'( If only I could plug sth. like an SD16 into this console.. I'd be instantly on board. Not just the formfactor but all the great presets for mics and isntruments etc. it would be the dream.
Missed the stream, re. the Great Pyramid - it wasn't a burial chamber. Killing Joke recorded some of the vocals for their Pandemonium album in there 31 years ago. The session was arranged by Youth (there's your Blue Pearl Link), who was back in the band at that point. The story of the session is legendary - it's in the Killing Joke documentary.
New , generative music is NOT exiting , and in one or two years from now - NOBODY can hear ANY difference from AI to human music - and shame on all who , in any shape or form - endorses AI - you just dug your own grave !
Heroin and racism is"unavoideble" and"Everywhere" - but thts no reason to "just "Cope with it" - AI is a goddam culture-killer - and should be avoided like he plague ! - And the LEGION of new "musicians" has only deluded an already deluded pop-culture - ...they are NOT musicians or artist´s ,- they can write a promt and press two buttons ! Puke and vomit !
