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Why Old Gear (E4XT Ultra, Analog) Makes Sense!
Old 1 week ago
  #1
Here for the gear
Why Old Gear (E4XT Ultra, Analog) Makes Sense!

I've been working with a new MacBook Pro 2019 Edition, 32GB and all that. Ableton and Steinberg Cubase. A lot of nice VST instruments.

But: when I use my E4XT Ultra, my Waldorf Microwave M1 and other gear, I don't use up all my CPU cycles. I find it amazing that I got all this polyphony for so real cheap!

Example: I design a sound using some famous VST synths, then I sample into my E4XT (Hollywood Edition). I get 128 voices (64 Stereo). My CPU usage is next to nothing. I set up the audio mix inputs and I can tweak my tracks without thinking of those annoying crackles and pops when the CPU cycles get used up. Try doing 64 stereo voices with a modern VST even on a decent laptop.

I compare buying like a 24-Core (dual 12-CPU) or 48-Core machine versus buying cheap synths and samplers. Guess what? It's cheaper to buy the synths! The Emu samplers and others like it are still not beat.

The funny part is that music is still music and its what you compose with these cool instruments that matters. I mean, look at some of the old compositions that artists created way back - they are still amazing.

Just me 2 cents FWIW.
Old 1 week ago
  #2
Gear Guru
 
zerocrossing's Avatar
Cool story, bro.

There are good reasons to use whatever, as long as it makes sense to you. Personally, I feel like sampling a synth to make it have more voices to be the last thing I’d ever want to do, but give me a good looping plugin like Möbius or Enso and I’m a f’n pig in sh!t. I can make a Dominion 1 sound like the hoards of hell (or heaven, if I’m in the mood). Sampling with a hardware sampler seems like the least sexy way to make a sound, but that’s me. Not that I’m above buying a cool Kontakt library/instrument, or ROMpler pack for Syntronik.

I use software instruments because they go places that hardware can’t or won’t go. At least not without a fight. Sometimes I’ll go to them just because it’s another way of working which leads different results. Rules are for the weak. Some sounds still seem best done in hardware, but I feel bad for the electronic musician who denies themselves the fun of working with some of the better plugins.

Listen to some of the Beatles’s weirder stuff, like Tomorrow Never Knows. The stuff George Martin was doing with tape is amazing to me. Makes most sampler stuff look lame. Then go to Simon Stockhausen’s website and listen to his preset pack demos for Kaleidoscope. The stuff of William Gibson LSD trips. It’s not the tools, it’s the talent. If you find an instrument or way of working to be inspiring, then you’ve won the game.
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