[embedding-shape]

> he's showing how placing different objects on the resonators changes their tone

"Have you ever thought re-patching your modular synth was too easy? Here, now your drum machine can be even harder to recreate the sound you liked last week!"

A joke, but was immediately what jumped out as scary. Not gonna lie, looks like a fun machine, but for that money, I tend to buy stuff I can use and recall old patches with. Although except for the modular obviously :/

[fooqux]

What an insightful comment. I've always considered art as something that can't be recreated, as it involves the state of mind the creator was at the time of creating it. I would worry no more about recreating a sound on this synth as I would recreating the exact pitch of an acoustic guitar I made last year.

Your take is obviously a valid one though. I just find it infinitely interesting how there can be so many valid viewpoints about something like this.

[mobiledev2014]

That is how many synth users feel as well, that they don't need presets because they'll just create a new sound. Neither approach is invalid as there is no right or wrong way to be creative.

[wraptile]

I'm not a professional musician but making patches is something I never knew was fun until I tried it and it immediately became my favorite musical activity. Sitting down with my Minilogue XD and spending and evening just making an ephemeral 16 step sequence is a really great recreation activity that I'd recommend for anyone.

[mobiledev2014]

Totally agree. Have you tried VCV Rack? You're welcome/I'm sorry :D

[wraptile]

As I'm a software engineer I try to avoid software tools for recreation but it's getting harder and harder and vcv-rack is even on nix package manager. I think I might have to break my rule just this once - thanks!

As a counter curse I recommend strudel.cc back at you :)

[mobiledev2014]

I think it’s one of the best pieces of software in existence and I don’t say that lightly. In a perfect world we’d have a magic of box of every modular component to build and rebuild to tinker with the physical controls but in lieu of magic vcv rack plus a midi controller is the next best thing

Strudel is very cool. Possibilities are endless with music tools

[embedding-shape]

I'd say "meh" to VCVRack. Just like you, I got into music production to get away from the computer so I avoid software when I can, I basically only have hardware for production, so I can use my hands and not stare at screens, only do mastering in a DAW.

Like you, many people along the years been telling me that I'll love modular synths, and I should try it out VCVRack to get a taste. So I did, maybe once or twice a year. It never felt fun for me, even one bit. Never sure why.

Then at some point I borrow my friend's modular setup as he was going to play in places where he couldn't bring it, and I finally understood what's so fun about it. The hardware is what makes it fun and relaxing for me, not the concepts themselves, and seemingly for me, they don't translate into the digital realm.

I guess the point is: I'm kind of similar to you and I couldn't get into VCVRack but actual real modular synths are fun as hell. Maybe it's the same for you, so don't lose hope if VCVRack ends up not feeling fun :)

[TylerE]

Personally I swing both ways. I love to just with, say, a basic sawtooth wave (honestly that, a little filter, and a basic ADSR gets you To many of the most iconic sounds of the 70s), but I do like presets so when I land in something really special I can snapshot it.

[duped]

There are forms of art where the "meta" is that the artists are attempting to recreate something exactly the same each time, but in doing so there is always something different (theater, live music, etc). Some art leans towards perfection in recreation and some leans towards the unique.

Professionals are usually good at doing both.

[mrandish]

You nailed it. Cool idea. Nice design. Great demo. Fun toy.

I'm sure I'd have a good time playing with it for an afternoon and come up with some sounds I like. And, in principle, I'm all for more ways to create music existing - especially ones which are interactive and tactile. But the reality is, if I bought this device it would end up spending most of its time in the basement graveyard with all the other cool tools that are too narrow, too big, too hard to interface, store/recall patches, etc.

I decided several years ago to refocus on a stack that's purely microphone (or other a/d converted input) + MIDI controllers to a DAW driving infinite layers of internal real-time digital synthesis, analog modeling and effects plug-ins. There are fabulously expressive MPE (MIDI Polyphonic Expression) controllers now which can capture every nuance of input my hands, feet and breath could ever provide. As you highlighted, the feeling that creating in a digital audio workstation is "too easy" or maybe somehow 'soulless' - is all in my head. That lurking suspicion analog circuitry or electro-mechanical waveforms are more authentic or pure is just magical thinking.

Always believing that the next new box's cool-looking tactile input, novel interaction model or unique set of opinionated constraints will unleash my creativity - is just getting in the way of actually sitting down and making myself create with all the insanely powerful, wildly creative, infinitely flexible, hyper-productive digital tools I already have. Being able to save and recall entire racks worth of patching at the press of a button isn't soulless or limiting - unless I let it be. Feeling like I need just-one-more new device to inspire me with its defaults or constrain me with its limits - is the limiting constraint I finally realized was holding me back.

[MrScruff]

I used to worry about recall but eventually realised I made more and more interesting music when I treated my gear like a regular musical instrument and just recorded myself playing to audio. Perfect recall put me in a brain loop of endless tweaking that didn’t actually benefit the music at all, it would all just end up sounding overthought. Plus I had more fun doing it. This was a bit of a revelation for me. Obviously, whatever works for you works for you, but just a counterpoint.

[mrandish]

> Plus I had more fun doing it.

Of course, that's what really matters most. I do appreciate that the infinite possibilities, permutations and even extreme convenience all-in-one digital integration provides can become a downside. It really depends on personal style, preferences and goals.

Confronted by all that boundless possibility, I have sometimes found myself freezing up with 'possibility agoraphobia' or just rat-holing into the tweak-cycling you describe. Ultimately, I figured out I have to enforce some discipline on myself - which felt a bit odd since I'm strictly doing this for fun. My realization was that the needed discipline can either be embedded in the tools or style I choose or I can choose to enforce it on myself - which is its own burden. Every approach has its benefits and costs. No free lunch :-).

In a broad sense, I suspect any of the different approaches (all acoustic, analog, digital or some hybrid) represent sweet-spots that balance latitude and constraints in different ways. All that truly matters is finding one that meets us where we are in the moment and feeds our soul.

[embedding-shape]

Yeah, I think a bit of difference gives it a bit more character, fully agree. Recall is more about being in the transition between two different songs when performing, and needing to get to a start point that works with what you're transitioning to. For jamming, it's fun to spend 2-3 minutes finding a sound that works, but for performance or recording, it gets really tiresome to manually patch 20 cables on the fly.

But as you say, no right or wrong, we all do things under different circumstances and contexts, and what works for someone is wrong for another, and all that :)

[wisty]

> Feeling like I need just-one-more new device to inspire me with its defaults or constrain me with its limits - is the limiting constraint I finally realized was holding me back.

That's true in so many fields.

[ChipopLeMoral]

You can change the actual resonator shape (it says it comes with 3 different shapes) to affect their sound. Like actually unscrew them and screw different ones on. Since this is just a piece of metal I see endless hacking opportunities here.

[embedding-shape]

Looks really interesting, no doubt. But I also see that you can change the sound by just placing objects on top of the resonators, so I'm guessing if I was jamming with that, I'd try placing my hand, foot, head and a bunch of other stuff on top of the resonators. Probably find some neat sounds.

Then next week I'm gonna have zero ideas about how to recreate it again :P Already suffering with this with the modular synth, and those are just cables in specific holes.

[crq-yml]

Korg satisfies both ends of this spectrum in its different products. The Microkorg 2 is the update of its record-setting best-seller built around "here is a giant preset knob that has sounds organized by genre". You can program a Microkorg and it does have plenty of depth, but the general idea of it is to be a go-to "recall" box for the quintessential synth sounds.

While the feature is useful, in some senses it's not terribly important to have a sound be exact, because you're giving a performance to the circumstance. Acoustic instruments react to temperature and humidity and all of that - it worked fine for thousands of years of music.

[mrandish]

> Korg satisfies both ends of this spectrum in its different products.

I thought you were going to say the Korg Legacy Collection was the "other end". https://www.korg.com/us/products/software/korg_collection/le...

It's basically every synth Korg ever made up to around 2005 (about 20 in all) as software plug-ins capable of playing the original presets and patches. It even includes all the presets and optional patch library cards and expansions Korg ever offered for each (often worth more than the synth itself).

Some of the greatest albums of all time (and several of my personal favorites) were primarily made with these. And they take zero space, need no maintenance and patch instantly into all my other gear with no ground loops, sampling hiss or MIDI timing issues.

[TylerE]

And the minilogue scratches the "gazillion knobs and mostly true analog poly synth" for a pretty unbeatable price. Anything else around the same price is either mono only, or digital.

[fatherwavelet]

I love Korg but personally I think this is stupid.

I had an OASYS PCI and synthkit 20 years ago that had incredible physical modeling.

Maybe because I can picture what this would sound like with those OASYS models that it is not impressive at all.

I do always appreciate how daring korg can be though.