![]() If you’re on the fence about picking up an analog synth, I’ll ask you this: Are you well acquainted with at least two virtual synthesizers that will serve you for years to come? If so, save up and dive in. Nowadays, software synths are technically limitless, but there will always be a place for analog technology and hands-on control in the world of music production. The sound quality will be dependent on the character of the preamps you use to get their sound into your DAW, and high-quality cables make a difference. Hardware synthesizers are an investment that requires care and maintenance. You don’t want to shell out good cash and find out later that it’s in need of repair. Some old analog polysynths have a crackling in the oscillators that can be fixed but appear after about 20 minutes of playing. Just air on the side of caution, and make sure you test the synth for at least 20 minutes when trying it out. It’s not impossible to find classics like the Juno 106, JX-3P and Yamaha DX-7 for less than $1000. You can save a lot of money buying used gear, and it opens up doors to the vast world of vintage analog synths. Keep in mind that these prices are for brand new hardware synths. It’s fun to trigger it with a drum machine too.” - Boys Noize If I ever want a really good saw sound, this is what I use. Pros: High-quality classic sounds, many have expanded features from the originals (added voices, unison mode, etc)Ĭons: Not true analog synthesis (they are digitally based), they are small and potentially difficult to play live “I used it on my NERD remix. Pick up the K-25m keyboard for $99 which is compatible with all of them, and you’re as close to the original sound of any of these synths to fool even the most snobby audiophile. There are versions of the Juno 8, Jupiter 8, VP-330 Vocoder - there seem to be more models available every few months. Lucky for us, in 2015, Roland rolled out their new Boutique Series - compact remakes of all their classic gear, all for the flat price of $349. Unlucky for us, if you want an original piece of any of this gear, it’s going to set you back at least a few thousand dollars. The 101, the 303, the 808, the 909 - everyone knows the sounds, and nobody questions how awesome they are. Roland’s robust line of analog gear - and their catchy naming convention - has dominated the world of synthesizers since their inception. I haven't even delved into the external signal processing element of it yet - keep meaning to, but I love the sound of the raw oscillators so much, I try and bring that to the fore when I'm using it.” - Jon Hopkins Pros: Versatile sound design, unique modular capabilities, Jon Hopkins loves the MS20Ĭons: Higher side of the $0-500 range, mono synth (not really a con, but you’re limited to one note at a time) “I just like Korg stuff and wanted to try a synth that was the same age as I am. The MS20-Mini is built with the same analog circuitry as the original, contains infinite sound design possibilities with its semi-modular capabilities, and houses an external signal processor that allows the user to run external audio through the synth filters. The Mini has a nearly identical sound to the original synth which characterized much of the sound of the 80s and 90s and was pivotal in the early days of house and techno music. The MS20-Mini is Korg’s remake of the classic 1970s MS20 synth. Taking the time to learn these concepts before you’re standing in front of that keyboard will pay off when it’s time to get down to composition. Spending time and money getting to know hardware synths inside and out is an investment in your sound, knowledge, and skills as a producer. Check out the Ultimate Plugin Guide for recommendations. If you’re at the stage in your production journey where you’ve decided that synthesized sounds are a key element of your music, you’ve probably already thought about the world of hardware synths.įor those new to oscillators, waveforms, filters, envelopes, and sequencing, I recommend you get comfortable with a top-tier software synth first. If you find yourself pointing to the plug-ins, sounds, or instruments that you don’t have as the reason why you’re not making music, it’s probably a sign that you’re avoiding something (like writing). When you use and enjoy what you have, you are already well ahead of the complainers. Life is too short to live in a state of constant acquisition bias. Let me start by saying one thing: You do not need an hardware synths to make music. But there are a few good reasons why a producer might want to shell out for hardware synths. Hardware synths have their merits, but software synths today are often more powerful than the original units that inspired them.
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