Lots of references to the Moog Taurus, but I believe you meant the Moog Minitaur ... the Taurus is enormous and discontinued. Minitaur is the brother or sister to the Sirin in its appearance. Thank you for your videos.
@@mistervalentin8396 what’s the overriding opinion of the Grandmother? I haven’t gotten into modular at all, total synth noob (99% of my synth work is in the box). It looks cool haha, so I’m curious
@@mrnelsonius5631 I am always feeling like a noob myself. You don't need to use it with patch cables or with a modular set-up; it just sounds great with its limitations, it's satisfying to tinker with, the spring reverb really sounds fabulous. What I can recommend is to watch the plethora of videos on RU-vid of people demoing the Grandmother, and slowly form your opinion - see which comments people make about its feature set resonate with you. Listen to the sound demos ... I personally have often purchased items that other people use spectacularly only to realise once I was fiddling with it at home that the musicians who master these instruments are far more smart and technical than me and don't seem to mind memorising combination button presses! Elektron are a company that make great instruments, but they require you to buy into their vernacular and way of doing things. I personally like synths and drum machines that are intuitive to use, that let me dictate how to use them, that have a one-knob-per-function philosophy, and that allow you to do basic things easily. To that end the Grandmother is great fun, sounds fabulous, the keyboard feels great, the knobs are great quality, it feels like a proper instrument with it's robust build quality, it's compact, and it's more capable that it appears because of the patching possibilities, and the spring reverb is a legit part of the sonic signature. There is a new all-black version of the Grandmother if you prefer that style to the more quirky and vintage colour-scheme of the funky original. Have a happy new year! Stay safe!
Good chairs are pricey. I also seem to have a hard time finding ergonomic task chairs. I don't like arms if I need to pick up a guitar or bass to start tracking.
@@13strigoi69 I know, I haven't found an iconic, comfortable, armless chair. I have an obscure, inexpensive, no-namer that I love and will be very sad when it's life is over. It's not replacable.
@@jfo3000 I have a cheap office task chair, which doesn't even pretend to be ergonomic. :/ Herman Miller makes some nice chairs that can be ordered without arms but are too expensive for me at the moment.
@@13strigoi69 Herman Miller Aeron has removable arms and the second-hand market is affordable. You can find a lightly-used, office owned Aeron for $200-$300. I agree, a quality chair is the most important investment for long mixing or recording sessions.
You've missed a very important "essential" investment - your skills. Both as a musician and a sound engineer - most of us are doing both jobs in our studios. You may be the best musician in the world but if you can't record your greatness correctly, it's going to sound like crap. I would recommend investing in personal development as much as investment in gear. If you can't spend the time to do a sound engineering course at college, get a subscription to Sound on Sound magazine - it has a lot of valuable information on recording and mixing techniques as well as great gear buying advice. Another good reason to do a good course is to make contacts in the music industry and with fellow musicians/producers. One of the best resources you can have is a third party that you respect, who can listen to your work and give you constructive advice.
Absolutely spot on. No point owning kit if you don’t know what you’re doing. Conversely, if you do know what you’re doing - you appreciate having the right tool for the job! Hand in hand. 😊
the lad I'm at work with kept referring to tindr as grindr and I was thinking I'll have to sign up to that... luckily I remembered in time that he was swapping the name over
Christian. One very serious piece of additional advice to add to your list (Never go hungry. Never cancel a holiday. Never deprive your family for equipment.) and that is, NEVER get into debt for it. I am sure that there a plenty of us here with rooms full of gear who will tell you that their highest earning works (that paid for all the subsequent gear), we're recorded on an ADAT, or something modest. There's time for buying stuff later.
I read "never deprive your family of equipment" as a Freudian slip I suppose and immediately wiggled my tail affirmatively. "Honey, it's for all of us!"
A college professor friend told me a long time ago, "Only hypocritical cultures are truly interesting." And she listed Japan and the UK at the top of her list. I know this sounds a bit back handed but in fact she was talking about how comfortable we are (or aren't) wearing our contradictions on our respective sleeves. Thanks for sharing yours Christian...repeatedly. You have my permission to skip the Brené Brown Ted talk on vulnerability. You've got that covered mate.
Really interesting video Christian and Sandy, but... I think you've missed a pretty massive category hear - audio interfaces. Analogue/Digital (and vice versa) conversion is a huge potential bottleneck for the quality of the music we make, and I for one definitely learnt this lesson way too late. Having a pair of 414s (or even Coles) is incredible, but if you're losing detail and clarity in the conversion, it's a big waste. For a long time, I valued input and output count way too much when having two great sounding inputs is invariably more useful. With that in mind, I have to recommend the UAD Apollo Twin - I almost never use their plugins but the quality of the preamps and converters I think is the best value for money at the moment (though I've not spent much time with the Clarett series which I hear are much better than focusrite's usual fare). Anyway, just my 2 pence on the subject!
Yup! It was interesting, ever since upgrading my converters from the UA ones to the Merging I find I am making much better choices and decisions even in my writing.
You could have an entire electronic music career using nothing other than a MIDI controller, a DAW and Native Instruments Reaktor. You get tonnes of first-party synthesizers, samplers and effects, hundreds more through the Reaktor User Library, and I think Blocks is the most beginner-friendly modular synthesis software out there.
There is a phenomenon I’ve seen many times in synth forums, which could perhaps be called “Stradivarius envy”. People playing synths, that wishes there was a real art to building synths, that the making of the instrument matter so much that hand built would mean that it had something extra. That there was a pinnacle of synth building or a holy grail, something that will stand the test of time. Something that would hold its value. Something that is the sound of subtractive synthesis, that everyone else only tries to mimic. And in many cases they try to put that label on Moog products, because the original Moog company came out with the Minimoog that pretty much formed the idea for self-contained subtractive synthesis. The problem is that a Minimoog on the inside is just electronics, there is nothing special there, nothing acoustical, nothing that would be affected by how the product was produced. And modern Moog synths uses mainly imported electronics from china that are only hand assembled in the factory so they not hand built (at best, that is, some seems to be mostly pre-assembled even before arriving at the Moog-factory). That is one aspect of the “Stradivarius envy”. Another aspect of “Stradivarius envy” that some people have a hard time accepting synth modules that then has to be connected to a playing interface (often keyboard), as if somehow having it all in a package would make it any more of a “real instrument”, like the sense one would get from an acoustical instrument where one can’t separate the sound generation from the instrument one plays. That is of course not true either. Having a separate module works just as well as having it built in to a single package. Some goes as far as thinking that there has to be a certain weight, and size to the synth, in order for it to feel like an actual instrument. Whereas in terms of electronics, that is of course not true. This of course also means that some people can’t accept software synths as real instruments, no matter how well they sound. In some cases hardware synths do have a better interface, but there are cases where it is the software that has the better interface, so it can’t even be said that it is the interface of the hardware that makes it a real instrument. It all gets even worse, when considering that vintage synths, had imperfections in their electronics, that resulted in pitch drift, and distortions in wave-shapes. Things that engineers did their best to avoid, but the characteristics that came from those imperfections created a sound that many feel is more pleasing. I will not argue on whether or not it is more pleasing, but what that shows is that the old products that some feel are somehow better, are technically actually worse. And no matter how much skill was put in to the product, they could not perfect it. Today many modern synths have “analog feel”, “analog drift” or similar function, to emulate those imperfections, because synths are technically closer to perfect today, closer to what the engineers always tried to achieve. But some are simply convinced by the “Stradivarius envy”, that the old ones are better made. Pretty much the same phenomenon exists in the electric guitar world. Where people feel that some brands are just more real instruments than others. Sometimes the electronic is identical and sounds identical, but they are still convinced that the “original” is more of an instrument. Even new pick-up designs that are technically better can be bashed upon, for not capturing the vibration of strings as well as older designs that are actually technically worse. Yet again, the matter isn’t what type of sound one might prefer, but that technically the older designs simply weren’t the most perfect way to do it, just the best that could be done at that time, but therefor isn’t the pinnacle of pick-up design either. I guess it can be argued that there is something similar when it comes to outboard gear, where people want there to be a pre-amp, that is the pinnacle of pre-amp design, but the best regarded ones are ones that introduces distortion (often called saturation). Similar thing with compressors. And people that believe in tape over digital recording. It is like there simply has to be something that is clearly the best, something that can be expensive, and hold its value. But I actually think I’ve seen more people accept the distortion (saturation) of emulations when it comes to this area compared to syths, perhaps because many of them has that “Stradivarius envy” in other areas and because of that has no desire to look for a “Stradivarius”-mixer, tape machine or compressor. Or perhaps it is a more progressive field? Or that because mixers and compressors and so on aren’t played somehow makes it easier to accept. Or perhaps because the function is clear, the task given to the hardware is clear and therefor it is easy to measure how it holds up, and see that it is the imperfections that made the sounds of the products, whereas with synths and electrical guitars, no one can clearly say that “this is the target”, since neither product sounds “natural”. But still, it is there among a lot of people in the business.
Resale value? No. Not in this business. That is just something people tell themselves when they want to buy expensive 2nd hand equipment, that they are going to make a profit on it, or get the investment back, so it is free or an investment. Most gear will go down in price, the exception being inflated second hand stuff… But even then, some of it might have gone up in recent years, but looking at the original retail price, and converting to todays worth of that money, it may very well still not reached the retail price. And many exciting products will have revisions. Or stay in production for so long that the market is completely flooded. And things that don’t flood the market and are out of production, can also be beyond repair if it breaks down, because there will be no spare parts. If one can’t justify something for the use one will get of it, it is not an monetary investment, don’t ever, I mean ever ever count on that being the case, gear is not an monetary investment, that is an even worse delusion than Gear Acquisition Syndrome. Even if something is considered valuable and no longer in production, it can break, be caught in a fire, or something new can enter the market, that completely changes the way that product is seen. However, USE, can be inspiration from using it, or just looking at it. It can be having a toy to play with. Or something to get one started, that may just be a step on the way. So it doesn’t have to mean that it will directly generate income to cover the cost. If something is worthless when taking it out of the box, in terms or user value, then there is something wrong, but if it can’t be sold at a decent resell price, is a completely different thing from being worthless. When it comes to Berhinger, I’m quite sure though that there are cases were people have been able to buy products so cheaply that their functional value and list price was higher than what they got them for, and thus has been able to sell them at a higher price. But that doesn’t even matter; many modern products are produced in with the same manufacturing techniques as Behringer stuff, and will not hold up any better. Build quality is also misleading, because often we can only get an idea of what the outside feels like, and that tell us little of how things will hold up. There are plastic things that have held up very well, and there are things encased in metal, where the design of the components inside has not been of the same standard as the case. And if Behringer makes something cheaply enough so that it is actually justifiable for the use one will get out of it, there is no reason to stay away from that brand. And in terms or reliability, some Behringer products have been very reliable, others has been so cheap, so people could easily have a spare, and in some cases two spares or more and still have the same kind of audio quality of a product where a single one is the same price, and is as best only slightly more reliable. I would say, always have a spare, and always test before any major sessions, rather than thinking you have bought reliability in the first place. Never trust a brand because of its previous reputation, one still has to look in to the brand, as it is today, and many reputable brands have had several products with issues. If anything, look at the reputation of that product, accept that one might have to wait for at least a year of it getting in the hands of users, before being able to tell if it actually lives up to the expectation. And even then, make sure that the production method hasn’t changed, if not buying second hand. What cook ever goes in to the restaurant business thinking that he will go out of business with a debt or no savings and having to sell off the equipment? A lot of kitchen equipment gets used until it is broken, or no longer hold any real resell value. The investment a cook makes is not in resale value, but in the quality and reliability of the equipment. And there is nothing in the music industry of the same caliber. Nothing designed to be used and abused like high grade restaurant equipment, certainly not anything from brands like Moog, Stradivarius, and so on… With care, some music equipment may last for hundreds of years… but a single accident is all it takes for it to be gone forever. And while kitchen equipment can be destroyed, for sure, it isn’t anywhere near as sensitive for the risks it is exposed to as musical equipment. Gear is only an investment in terms of what will come out of it, never in terms of how much money it would generate when sold. Keep purchases relevant to you (don’t buy equipment to be able to record instruments live in your project of home studio, if you are unlikely to be going to do that, for example). Think of the price, and what else that could buy you, even outside the musical equipment category. If you have the basic equipment, never stop making or attempt making music, because there is one piece of gear that you may lust after (stop making music because of the lust of a gear is often called Gear Acquisition Syndrome or GAS for short). The idea that something should be intuitive is something I would agree with. Unless there is no way to get the same function, something one really needs, except for taking on the product and learning to use it, buy intuitive products. However nothing is super easy to use, and everything has a learning curve, so one still has to count on having to invest time learning to use equipment be it software or hardware. When it comes to the looks; good looks is not the same as intuitive, so a good look doesn’t mean it is easy to use, or ergonomic. A good look may be inspiring, and in some cases that is enough to get by the hurdles in usability. But every piece has to be judged on its own terms. And if one can find something that both has an inspirational look and a good interface, then one is in luck, in other cases one has to judge that specific product on what role it is supposed to fill. I’m all for waiting with speakers. Few people will listen to music through quality stereo speakers, especially compared to the amount of people that will listen half decent or quality headphones. So all mixing and mastering should be checked with headphones. (panned low end, or panned reverb for example sounds very different in headphones compared to listening to speakers in a room, where sound from either speaker will reach the opposite ear at some point, something that will not happen in headphones). Except for probably the SM57 and buying a physical instrument with a sense of feedback (piano), I don’t agree with a single item. Those are all a matter of personal taste. And while the title says “My”, over and over in the video, it is suggested that these are general tips and not personal selection, only relevant to Christian Henson himself, but that is all this is, a list of his own selections, where there are several alternatives to every piece of item mentioned (even the SM57).
Your long right leg at 4:38 reminds me of the story I heard on a family holiday in Fort William in the early 80s. ‘The Haggis has one leg longer than the other so it can run away from danger more quickly on the slopes of the mountains.’
Steve Amadeo ‘And the only thing you catch them, is to chase them the other way around the mountain!’ That’s what I was told when visiting Scotland in the 80s’. 😉
Completely agree with your assessment of Moog. My Moog Matriarch is the single most inspiring piece of gear I own and just oozes quality. Sometimes it's worth spending extra to get that feeling.
That's a big bucket list for a big wallet lol. I think we are probably all the same, if money was no object, our studios would look like music shops. I would love to own vintage synths but my studio (really it's the smallest room in the house) is 6 by 8 so not a lot of room after my desk is in, and I have loads of guitars and 2 amps and stuff so buying vst synths is practical. I do have a few rack synths but no room to have them permanent so I get them out only when needed. My bucket list would look like Junkie XL's studio basically lol
Behringer Vintage Time Machine (kind of an EHX Clone of course) (new 59, now 110 upwards), not to mention the BCR2000. What was the reward for finding again? Thank you very much for your high quality Videos though!
Christian, bought my Wurly 200a 10 years ago for the amazing price of $250, and it's hands down the best investment in music equipment I have ever made. It was even $50 lower than original asking price because the guy had accidentally ripped out a speaker wire and adjusted the price accordingly! I would sell a lot of things, but NEVER that wurly. Love your channel!
Hi Christian. Good vid! Is there a reason there is no Audio Interface on your list? A very underrated, inexpensive synth is the Novation Bass Station 2. Novation is a great company that supports their gear as they just added 2 amazing firmware updates to the synth so that it is now 2 voice paraphonic and the new AFX mode has amazing possibilities for sound design. Plus it sounds great as well.
I love this! But as a guy who's primarily an audio mixer and editor I must say DO NOT sleep on the 414!!! It's the most versatile-but-not-as-costly-as-some-other-high-end-great-sounding-mics-that-you-know-you-think-you-just-have-to-have microphone out there. The sound of a 414 goes with everything. You will generally not feel like you could have done better when you use a 414. The SM57 and the 414 are the yin and yang of microphones. Everyone should have both.
Also on modern bucket list, recommend looking at the Sequential Prophet X - it's a hybrid digital synth with sampling/granular - amazing for sound design and very different. Also the GR-1 granular synth, which is a bit more niche too.
I have a Mother-32 and is definitely amazing for that classic Moog sound, but it all depends on your workflow. In my opinion, the midi option on the Mother-32 provides the option for performing the device with a midi keyboard while the patchbay enables users to utilize Mother-32’s modular capabilities. Gateway into the modular synth world in my opinion.
I used to diss Behringer too, but have you played the Deepmind 12, VP-440 or the Poly-D? Try them out and then diss them. Behginer of the 90s-2000s is a different company to the present one.
there was actually some research made on Stradivarius. They found that not only can professional musicians not distinguish the sound from a modern violin. they actually prefer a modern violin sound to the stradivarius. You can check it out here ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-E21NATEP9QI.html . skip to 3:18 if you wanna see that
Think you mean the Moog Minitaur (same as the Sirin but with lower OSC) instead of the Moog Taurus (being the original Moog foot pedal bass synth from the 1970s/80s)...
Although slightly disheartened as this video has highlighted just how broke I am currently, I really enjoyed and appreciated this info - ever enlightening, and I love your philosophy on making music via hardware even more. Thanks!
Just gone and bought a Moog Grandmother. I’ve been inspired to get ‘out the box’ after watching your amazing videos. Humming and hawing over the last couple of weeks, nearly bought virtual analogue or digital synths with myriad features. I then I heard you again talking about an instrument having a soul. Then I knew what to buy. Just spent a blissful hour playing with the Moog. I felt like a kid again - wonderful experience
For those of us that can't get a Roland Space Echo, as much as I loooove that on Arnalds stuff, I highly recommend the AudioThing "Outer Space" as a pretty decent recreation for a smidgen of the price.
@@mudsh4rk yep, hardware can’t be dropped on every channel like vsts can too. My outboard is mostly eye candy these days and for a bit of inspiration now and again
...but having lot of beautiful vintage synths does give you inspiration. You don't need all this stuff but it makes it a whole lot nicer. Like those palettegear expression things: they don't work very well all the time but it makes the whole experience nicer, and that's a motivation.
I love love love your videos. You have the utmost precision in communicating your thoughts and ideas. Your humour is brilliant too. Making fun of yourself communicates such warmth and humanity. You are a joy to watch and listen to. Thank you!
I love the first 10 minutes of this video. I've been seeing this large kind of..."attitude" from the online Music Community and also people who have no idea that you even need something like a microphone pre-amp, AD/DA convertors, or that you would actually spend money on music recording software when there is plenty of free apps out there....if I have to hear how one more gamer bro can build a "wicked gaming and audio PC with Reaper and linux for $500 that could crush any awful and way overpriced Apple Mac"..I might have to get a shrink before I start reviewing every piece of cheap beginner gear as compared to the high end stuff like a bad yelp review. lol Now I do understand the push back against this old elitist boomer attitude as I still come across it time to time even in my 30's, but this wave of online creators has a very distorted view of the music business is just baffling to me. I'm so happy for my nieces and nephews who get the chance to start out with so much available free education aimed at beginners/hobbyists and great technology that is around, but I really hate having to hear all these RU-vid producers have to caveat everything they say with a "You absolutely don't need this stuff to make good music" ad-nausea. Especially when those RU-vid creators are doing a sponsored video for a $20 plugin from "Big Cheap Plugin Brand" or a $50 interface that they absolutely would not use. I don't know how many times I've heard someone tell me they have a home studio, and then come over to see mine and act shocked that I have "so much" money that I can throw away at a $500 snare held up by a $350 snare stand. $5K+ of plugins and DAW's or monitors that cost more than their honda civic(an older used one, I'm musician not a mastering engineer). They have no idea that I've spent countless hours finding good deals and building up a collection of gear since I was a teenager by working a second job at a bar to even fund my music in the first place. I know the average person doesn't realize that most bigger bands change their strings and drum heads literally almost every show or they at least used to, touring can be a bit rough nowadays. I know that if you are talented enough and can put in a ton of time, and probably any chance at a real relationship or vacation, you could make an incredible record with a small interface, some headphones, and a laptop with free or cheap music software....but that is not realistic, practical, or good for anyone in the professional music industry. It just further devalues Musicians and people in the Music industry when people complain about someone using expensive gear. The truth is..that gear is way cheaper than it used to be. You don't want to spend $300 on a UAD plugin? Damn, well maybe you should go buy the $20,000 piece of vintage kit that it was originally based on. Sure, some of these plugins from the bigger plugin companies might be a ripoff for the lack of quality you get, but this stuff costs so much money to create and the majority of it never goes back to the actual music creators or audio engineers that came up with the idea. Even the musicians you think are super lazy and got a free ride, have probably put in more time than it would take to get your doctorate degree. Well...at least if we're talking about decent pro musicians who play an instrument or are really good producers. There are definitely some genres you can get away with spending a couple grand on some gear and making a record with it. If you only gotta track a live vocal and everything else is samples and loops then you don't need a ton of stuff. But if you are recording live drums or trying to mix a professional record and you aren't a 50 year veteran who started out in a way less competitive, but still very competitive market, you are probably going to have to spend a lot of money on gear. Especially the boring utility stuff like pelican cases or decent cables that don't sound like an ungrounded mess. It is wonderful there are so many opportunities for people nowadays, and I am thrilled music is growing, but I am so tired of hearing about all these music creators giving away all their best work for free because "art should be free and about the music man!", or going on tour and playing all these shows that are turned into donations for some charity when the band can't even afford to buy a full McDonald's meal. We should all give back, but writing and producing good music is giving back, and as long as the market is still under the thumb of these 3 giant labels that are still receiving the lions share from artists work, we need to change that. I'm more than happy to give back as a person, but don't make my job into a charity. By the way, I do love Labs and think its a great project. You are obviously a very generous person and do better than 90% of youtube music educators. I just hope this trend of people devaluing music changes. Had to get a rant out and a random comments section. lol
Hi, just wondering how would you rate the Beyerdynamic DT150 headphones for composing/ mixing. They’re great for recording but maybe not for general studios use? I’m thinking of a pair of DT880s for composing use? Thanks.
Everyone has their own opinion on studio gear based on experience reputation SNOBBERY and dare I say it plugging and paid advertisement. Building a home studio is not for the faint hearted, there is a huge choice and it really does depend on what your recording as to what POTENTIALLY is best for your needs. The heart of your system is the audio interface, whether it be AH QU16, Behringer x32/Wing oh and the Apollo, me I use the Sapphire Liquid 56 love it use it. You have 3 choices, rack, desk mixers and as I call em desktop plugins. You really only need the best for classical vocals and maybe acoustic guitars and for SERIOUS producers not for a home studio unless money is no object. After your interface its mics, and that is I think simple for home use, SURE !! You just cannot go wrong with the SM57/58s and for those with bottomless pockets the SM7B. Headphones, yuck I hate them so I went for the Adams T7Vs. But of course all that is useless without the actual instruments. A NI Komplete S series I think is a must, even like me you just get the s49. Amps cabs, grrrr these can cost as much as the rest put together. I bought a Marshall 4x12 and stuck 2xVintage 30s and 2xG12T-75 (mono stereo so can mic up two different feeds from the speakers for assessment) everyone is happy with at least one side of them - amps? lets not go there get them to bring their own !! Di straight in and use IR !! IN the end you want good solid kit that will not let you down. For the beginner all you need is a starter kit so you can learn, buying the best is overkill and absolutely POINTLESS. You only need to upgrade when you know your own kit and its limitations and why and what you need to upgrade. Dig out the multi-tracks available on the net, there are plenty, and play around with them !! IN the end HAVE FUN and ENJOY
Brand/price has to be X before I trust it.... ick 'the only compressor I'd consider for...' All very pretentious and gear snob. I almost made it to the end of this video but couldn't continue. More often I have the exact opposite musical experience. For example: I own a Marshall Mosfet Lead 100 guitar head with a tube preamp and solid-state power. Because everyone loves tubes and considers solid-state gear low-end, I attempted an upgrade to Marshall TSL2000 all-tube head. It sounded terrible in comparison. It was a complete waste of $700. The solid state head sounded better and required less maintenance. Over time I've learned to trust my ears and an established brand reputation has very little weight when I compare quality. I happen to adore my Korean Agile AL-2500 (Les Paul clone) and find it plays better than most high-end brands I've dabbled with. It cost me $225 brand new, several years back. It is a superb quality instrument and F@#& Gibson for trying to sell their same hunk of wood and steel for $3500. Also, my drummer and I use a Behringer UMC1820 interface and it sounds amazing. In addition to 8 combo mic/line Midas preamp inputs for less than $350 it has ADAT i/o for expandability. For the same money a "reputable" brand will give you 2 inputs and a volume knob. I tool around on my HP PC with 16GB 3200mhz quad core system with SSD drives for under $400. When my friend at work needs to upgrade his mac, it's un-expandable and he needs to shell out $2000 or more for something comparable. Sorry to vent! I love your other videos. This one, I just found myself disagreeing with too much. : )
PS Sorry whats the Deff Percusionist called aaaaaa any how i cant to aford to pay here to play .... Evlan Glenay .... Head pHONES PUT A FINGER IN THE EAR OR IS THAT just a Fock thing SM 58 /?
before you dismiss it completely I’ve just read that the DS Rev 2 responds to polyphonic aftertouch so really looking forward to trying that out with another master keyboard
you really give one too many shits for Moog. Like why would I even want any of the Mooger Fooger pedals? There's thousands cheaper and better delay pedals, (not to mention even lofi delays are a rather easy thing to emulate ITB) and there's a very good reason you dont see many other ring modulators about. Uh I just don't get why you feel the obligation to recommend them? They're entry level synth cost 4 times a similarly feature-containing behringer offering. 4 times. this blind following has left them lacking any veritable innovation or business model pivoting for some decades now.
Although Sandy is right, you don't actually need the physical gear - the software equivalents are very good, what is overlooked in this debate is the completely different physical interaction with the devices, as well as the lack of memory on the analogue modules, which leads to a very different approach to making music. Physical modular is much more like having a real instrument, in the way you relate to it, improvise with it, and create unrepeatable moments with it. Just because software can replicate the actual sound doesn't mean you will get the same results at all - quite the opposite in fact. There is no instinct with software, there is with hardware.
my vids yes the thing I don’t like about computers is I get the distinct impression they don’t like that we have opposable thumbs and are dead set on reprogramming is to think they’re not a fundamental part of the story of evolution. So in the binary world of computers you can only do one thing at a time on off, move from one point to another and input data. Whilst there are many hardware controllers out there that recreate a virtual environment that enables the virtual use of opposable thumbs these are far from universal so most people’s experience of production is point and click with one hand. When working out of the box with my opposable thumbs I find you reach your destination via a different route, not using a combination of visual cues and a two dimensional analysis of sound (because you’re altering a single element with you mouse, more top or less bass for example) you’re often using two opposable functions (via two knobs say) to come to a conclusion that is based on harmony. Sorry if I’ve got deep there but I do find the two worlds virtual and out of the box very different . In the box you create the sense of working in a 3D and harmonious world through thousands of 2D layers and thousands of 2D decisions.
@@TheCrowHillCo don't ever apologise for going deep! This is an area I find fascinating, having thought about it for a long time, feeling that I am clumsily manipulating beautiful samples in often very crude ways, which doesn't do justice to them. I completely agree that we have somehow accepted computers - business machines - with nineteenth century keyboard input devices and 1970's plastic desk furniture called 'mice' (!) as a way of 'playing' music. I remember when the Wavestation SR, the rack mount version of the Wavestation, came out, which I still have, programming it via a tiny LCD text screen was often compared to trying to decorate your hall through the front door letterbox. An analogy which I think still holds true for the arm's length way we try to mould sounds with our digital robot hands and fingers. Your analogy of trying to render a 3D world with 2D interfaces is also a very good one. Compare to any instrument - the tactile nature of the encounter, muscle memory, the myriad of micro decisions constantly altered by your response to the sound you are yourself creating - trying to programme those kind of subtleties and nuances would probably take longer than learning an instrument. I have an acquaintance who has done a PhD in this subject area, so I know that there is a lot of research into different ways of working with data (which is all computers enable) which might involve more touch and feel (called haptic in their world). Perhaps this is an area you could get your Spitfire boffins collaborating on - I was very interested in your account of the development of the interface for your own sample player, so i got the impression it is an area you feel strongly about. FYI, here is an example of non computer ways of generating fascinating sound, building your own 'modular' instruments: twitter.com/misterunderwood/status/1108118331410780160 and how that and other instruments sounded together: www.bbc.co.uk/sounds/play/m00048c3 Wonderful, imaginative music, no programming involved! Thanks for an interesting discussion
Rev 20: I think You are wrong to use electric guitars in this way. Japanese and Mexican instruments are just as good. Metallica's instruments are mainly Japanese. It's because they are industrial design and not luthiery, whatever the marketing bods would have you believe.
I am officially your biggest fan after watching your orchestra programming videos on Spitfire Audio. Get in touch with me, Im a caricature artist and I'd enjoy working with you on a little "different" collaboration than you would usually do. BUT I've subscribed and hit that bell icon! Cant wait to see what else you got! I finished your video series on Spitfire Audio last night and tried out writing an orchestral piece last night and seriously, its the best work I've ever done and I am 100% blaming you and your wisdom. Or lack there-of, saying that you can create awesome music without art classes. You've changed my life and how I produce from here on out!
Looks like Chris got carried away and forgot that most "entry level" set up's will be lucky to have a budget of a few hundred pounds. About 80% of the stuff listed here costs thousands.
id say most of the time, the resale value is in the back of my mind however, there is some gear i know I will never ever ever sell, one is the make noise strega, that is gonna be buried with me lolol another one i dont think about resale value would be any of the remakes of the old synths we cant get like, the behringer wasp (ive always loved the wasp, but i dont like behringer but the price point was right, so........... i have to buy a few extra stickers to cover up some embarassing brands labels lolol, but the wasp is awesome)
This post has aged poorly. Tere's lots on Henson's list that is an utter waste of cash. The Fender Tweed is a good idea. As for EQ's, the Maag is now in a great plugin. Oh well....
My first hardware synth is the Sub 37. It's easy to use to get all the standard Moog sounds out of, but it has incredible modulation possibilities that could take a lifetime to explore. I think there are 2 million possible modulation combinations. That sort of goes against your "simple" criteria though. For an entry level synth, the Behringer model D is really pretty good. By all accounts it's well built. The oscillators drift a little and you have to tune it when you change octaves, but a 3 oscillator synth with CV for under us$300? Hard to beat that. I wish you had given a list of midi keyboards!!!
I think were all on the same page here. Dont get me wrong. I would be the proudest man alive for a month or so if i would own a minimoog. But 3,5k is so damn far out of my reach, that i never even considered getting one. Like literally, this would be an investment that could ruin my whole life, financially speaking. Then behringer came along and i went with it.@@iaamusic1121
Christian, had you considered the Teenage Engineering modular synth as a starting point for getting into that world? I'm curious because I'm interested in testing the waters in that world but am not willing to spend thousands just to try it.
The Moogerfooger delay was a limited run. The BBD chip it's based on was a discontinued, 15v Panasonic, and because of the remaining stock available they only manufactured a few thousand (which was a big part of the marketing for it). Also it cost around $800 new at a time when the rest of the line was more like $300.
Really love your video's thanks to you I started making tracks for Production Music companies. Keep up the awesome video's!! Kind regard from the Netherlands ;)
I disagree with the Strymon big Sky. Prefer my lexicon pcm81 which runs circles around it especially in terms of midi and routing. I can only understand using pedals on a pedalboard or for live use or if you are really short of space in a studio
On Amps I have in the cupboard a DA 15 Vox. Vox for me has the warmth I want and power at 15 watts is more than enough. I like Elektro Harmonix pedals but only two - reverb and delay. If I could earn money at music I wouldn't be a chef working crazy hours, well lie, I can't not be out of a kitchen it's my natural habitat. Like your channel.
Couldn’t agree more with the Jupiter 4. It’s a must have. Can be bought for not crazy money (for now). Buy the one with the old filter, add a nice lexicon reverb and tape delay and be in heaven
Some years ago I started buying and selling synths just to be able to try as many as I could. I had a Yamaha DX 100, DSI Tetra, Korg Prophecy, Nord Micromodular, Kawai 100F and some FM rack synth I can't remember. My advice is: once you buy it don't sell it; I truly miss some of those synths. Now I have a Nord Electro 3, Arturia Microbrute and Behirnger TD 3 :') Great videos Christian!
a mic, and a computer.....that's all...infinitely expandable, infinite possibilities, less is more. I have a ton of hardware that never gets plugged in.
I have a moogerfooger analog delay if anyone is interested. It doesn’t get the use it deserves and is in great condition. Can only go up in value but I would like the cash for other investments.
I just spent all day wondering to myself if I should buy a new sample library or replace my old midi keyboard with a Kontrol A49. I'd resigned myself to neither and thought I'd save my cash (we all need to save those pennies during this uncertain times). Then I just watched the intro to this video, hit pause and went right off to Amazon and bought the keyboard. Thanks internet :D
Yep, I'm learning this lesson of buying higher quality gear. The RD-8 sounds good but was a nightmare of a drum machine to program...I would be better off learning to use Ableton as my drum machine, which I'm doing.
Mr. Henson: At around the 13:47 mark you transition from your studio to outside. The sound is about the same. Is the outside audio raw or processed. I ask because it sounds very good. Would you please share the type of camera and if it's just the included microphone. Thank you.
I have Dynaudio BM15a's and have finally moved to Focal twins with a sub. Dyn's are far too smiley sounding. The BM 6's are better than the BM5's too but Focal have a huge range and pretty affordable. I'd also suggest looking at what Olafur Arnalds is using and not buying that equipment, simply because your job is to create a new sound world and not to copy someone else's. Everything else Christian said is valid and great advice.
