Ableton Forum

Angstrom wrote:I think the real benefit of all hardware is tactility and one knob per function. There's a learnable "interface" to all hardware and that's very beneficial to the music making process.

Yes, this is the main reason I would buy it if I was well-off.

That said ... now you should watch Alessandro in his synth cave and have a little cry.

https://www.youtube.com/watch?v=2MKj_jurDHw (A.C and Sonicstate in the cave of Buchla)
https://www.youtube.com/watch?v=8mpaiiHPJaY (A.C and Sonicstate more Buchla)
https://www.youtube.com/watch?v=_o4yFxumAuA (A.C and Sonicstate even more Buchla)

I love Mr Cortini, great live setup and an excellent addition to NIN.

tedlogan wrote: It's very expensive. Entry-level pre-fab Doepfer A100 around £1000. Basic setup.

But, you see, there's that new Roland thingy, that works on its own and can also be used as the basis for a modular and costs like 400 GBP or so and no doubt will be cheaper in a year. I've been thinking about that waaaaaay too much recently.
Gearlust pure and simple but also the joy of patch panels.

tedlogan wrote:

Tarekith wrote: Usually I find myself thinking I could have made almost the same thing with Zebra2.

heh, reminds me of a not-too long ago interview with Hans Zimmer, where he says he's got all these amazing hardware synths (just check his studio on Google - the most beautiful room I've ever seen), and he was writing this score as he tends to do. He ended up not using said hardware and used Zebra 2 instead, for whichever score/part it was, because in the end it was easier to work with and"it sounded just as good". Can't find the article.

that's kind of a different issue though, for the kind of work and deadlines that zimmer has I can understand his usage, but there's a reason why he's got all of that other stuff as well, and for the music that he makes when he gets a chance that we'll probably never hear, he's probably not using zebra as much.

contrast his wonderful studio with peter gabriels lovely set up, and he's using allot of his gear.

Those Cortini videos are great, been following those. The Buchla stuff is the only sort of modular style gear to ever give me GAS, though at those prices it will just stay GAS for now.

"If you have to ask... you probably can't afford it"

starving student wrote:

tedlogan wrote:

Tarekith wrote: Usually I find myself thinking I could have made almost the same thing with Zebra2.

heh, reminds me of a not-too long ago interview with Hans Zimmer, where he says he's got all these amazing hardware synths (just check his studio on Google - the most beautiful room I've ever seen), and he was writing this score as he tends to do. He ended up not using said hardware and used Zebra 2 instead, for whichever score/part it was, because in the end it was easier to work with and"it sounded just as good". Can't find the article.

that's kind of a different issue though, for the kind of work and deadlines that zimmer has I can understand his usage, but there's a reason why he's got all of that other stuff as well, and for the music that he makes when he gets a chance that we'll probably never hear, he's probably not using zebra as much.

contrast his wonderful studio with peter gabriels lovely set up, and he's using allot of his gear.

You can buy Zimmer's version of Zebra2

https://www.u-he.com/cms/118-tdz-news

I don't get the Zimmer admiration anyways. Hollywood clap trap drowned in lots of string cheese. Rather annoying actually and certainly not interesting.

I like it, I think it's really interesting how much synthetic instruments and textures play an equal part with more traditional instruments in his scores. If nothing else, being able to walk down the street with the theme song to Inception in my head makes me feel like a better person.

Tarekith wrote: If nothing else, being able to walk down the street with the theme song to Inception in my head makes me feel like a better person.

I must really be taking the wrong drugs

Tarekith wrote:I like it, I think it's really interesting how much synthetic instruments and textures play an equal part with more traditional instruments in his scores. If nothing else, being able to walk down the street with the theme song to Inception in my head makes me feel like a better person.

I’ve posted this before, but go find a park bench while listening to Zimmer and watch squirrels. Epic struggle of nature that often gets ignored or is seen as cute.

Zimmer inspired a bunch of copycats with the Inception soundtrack. He’s the first to admit it’s silly and I think it leads some (Tom among them maybe) to think he’s trying to lead a film scoring movement, the Skrillexification of film scoring.

Zimmer has his moments. That's all I can ask for, only a handful of musicians can I think of that everything they do works for me. IMO people are much harder on those at the top then the rest. Zimmer hasn't ever been in the analog VS digital debate, he uses what works, whether it's a huge modular or Zebra or a live musician.

I would get a modular, but it always comes up to this problem, a modular is an endless mouth to feed with no end in sight.
Zimmer was lucky that way, he bought his when they were being stomped by FM synthesis and workstations. Paid something odd like $15 a pound for it.

Well I bit the bullet and ordered this but they won't be shipping til July I think. I'm sure after a month it will poster in the for sale section so one of you lucky guys will be getting it for a little cheaper than what I paid for it.

http://noise.kitchen/shop/bastl/rumburak/

the question is what's up with that Danny Elfman, now that's a shoulder I would like to sit on while he's composing.

and what the hell are you doing in Delaware anyway

I'm still in SF. I just put Delaware to keep the Gov't off my back. Pretty sneaky huh!!

john gordon wrote:I'm still in SF. I just put Delaware to keep the Gov't off my back. Pretty sneaky huh!!