Yes, to being with, I think electronic music production is half engineering and half art. Most musicians only explore it as consumers of engineering. Yet some combine them.zerocrossing wrote: ↑Wed Feb 28, 2024 3:07 pmI don’t think it’s really possible. When I was a kid, getting hold of something like an Eventide H3000 was basically impossible. Now, for a few hundred dollars, it can be approximated in software. (Don’t @ me, I’ve heard comparisons and the differences were negligible, IMO) That’s just the tip of the iceberg. Now it’s trivial to get something like Other Desert Cities, or any number of exotic effects, and they can sound great. I’ve got access to great approximations to every classic synth I’ve ever wanted, plus modern ones that couldn’t have existed in the past. All of it is fairly inexpensive, and can often be rented if an initial outlay of cash is an issue.soundmodel wrote: ↑Tue Feb 27, 2024 9:02 pm Okay so it's been something like 3 years that I have not found a single track that would've made me go "wow". When I was younger, it happened more often. Nowadays I think I've heard all the tricks.
How to overleap conventionality (doing the same tricks)? I had a Metasynth 5 license briefly, because I thought I'd make new music with it, but I sold it, because I wanted it to be a VST.
Also, any recent tracks that made you think it does it? Any subgenre of electronic music.
Sure, you can do unique things with all that, but the truth is, you’re not really going to hear anything as mind blowing as it was when this type of technology was young. It’s become ubiquitous. Your only hope is to be able to write interesting music.
Point being, available technology plays some part in "being able", but that does not produce great music (sometimes it does: romplers, sample banks). Yet the technology has very wide scope based on in how many ways one can use it. Even just a ring modulator has an immensely wide palette.
