Jump to content


BluMunk

Member
  • Posts

    1,102
  • Joined

  • Last visited

About BluMunk

  • Birthday 01/29/1980

Converted

  • Location
    Burlington, VT

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. I don't know if that's as clear as you make it out to be. In the interview, Mark asks something like "if we could replace the guts of that synth over there with a digital recreation, but keep all the interface the same, how would you feel?"... and Anthony says something along the lines of "well, probably, I'd be fine with it," but kind of struggled with the concept. And, I think @Jim Alfredson was referring to digital in general, not VSTs specifically (though am happy to be corrected). There's a discussion to be had about mouse/keyboard/screen interfaces vs. knobby/slider-y interfaces that has nothing to do with the words analog and digital.
  2. Isn't it solved though? Is there anything about digital that prevents it from having the same tactile knobby goodness as a favorite analog? It seems to me that the issue is a different one that they touch on in the video: digital technology has so many more possibilities that it has potential for no limitations. But without limitations, where does the thrill of discovery and refinement of concepts come from? Want digital that's just as inspirational and fun as analog? Slap a knobby interface on it, and resist the urge to design in features more complicated than the interface can handle. Refuse to add any features behind a 'shift' button.
  3. Ah! Missed that. Didn't mean to duplicate
  4. The YouTube algorithm popped this up for me today: https://www.youtube.com/watch?v=kk-3vXOAtVo ... Anthony Marinelli and Mark Barton (not names I knew before watching this video, but each a storied player/composer and synth designer respectively) have a very interesting and thoughtful conversation about digital and analog synthesis. I found it really got to the heart of what that question even means, and did so in an interesting and honest way, with zero bullshit, posing or pretension.
  5. I think it's hard to say. My assumption is anywhere between $200-500. The lines between boat anchor, useful tool, retro fashion, and vintage investment can be hard to suss out, and they can change at a moment's notice.
  6. I'm generally of @MathOfInsects's perspective on this. ... and yet, I've also seen so many places, both online and in the flesh, become uninviting places because it's incredibly hard to police the fine line between fun (and hopefully interesting) discussion and tribalistic signaling and attention seeking. @GRollins , your position is not confusing, and I totally get it. It is so tempting, when someone says "I don't like Beato (or whoever/whatever the subject du jour is) because of X, Y, or Z" for me to chime in with a version of "yeah, me too! I also think he sucks, and let me prove it by using dramatic language. Then, we can both be on team 'I don't like Beato' together, and have something in common!" Part of what makes this place valuable to me is that it isn't just a place where people who love person or product X and people who hate person or product X come to argue at each other. Lots of places on the internet are just that. I appreciate the moderation in these forums that does a decent job of keeping that from happening, but they can only do so much. As @GRollins says, there's an element of personal responsibility when it comes to keeping spaces the way we want them to be- moderation and policing can only keep things smooth around the edges. Was this current Beato discussion a bridge too far? Aside from a few individuals digging into the spite of it, I don't think so. But, it's important that we be able to share and discuss opinions here, AND it's important that we remember that the tone here is simply an amalgamation of all the discussions. Keeping it from devolving requires vigilance.
  7. Update: I made it down to their house today to check it out. It’s a Japanese v3 in perfect cosmetic condition. The sliders felt a little crusty, but that shouldn’t be a surprise. Slightly more problematic is there’s a 3rd in the top octave where the keys catch on each other and stay depressed. Maybe something for an actual piano technician to look at? It played wonderfully. I connected it to their K2500R and had a nice, pianistic time with it, as well as with a few synth patches. The action was lighter than I expected, maybe too light (I thought). But, after fiddling a little with the attack and pressure faders, I found playing effortless and expressive. Maybe a little hard to get a full dynamic range. I’d have to connect it to my computer to see, but I suspect that even the most delicate touch is triggering a higher-than-expected velocity number. Also, I found the action quite loud. Again, maybe there are felts or some other component of the action wears down or gets hard over time and is easily replaced? At any rate, after being frank about the potential value, I offered them a fair-but-lowball offer of $300 knowing there are some keys to be repaired, and letting them know that I’d take it for $300 at any time in the future if they wanted to shop it around. They took the offer. I didn’t bring it home today, as I need to make room and arrange for a friend to help me get it out of the car. I’ll head back sometime next week, replace the battery in their K2500R so they can sell that clean, and bring home my new controller! Any insight into repair/tech on one of these would be appreciated. Should I call my piano tech, or my synth guy?
  8. I picked this up... I don't have a deep bench of piano VSTs and figured for $13 why not. Gotta say, it sounds great out of the box. I'll spend a bit more time with it, but I can absolutely see this becoming my 'default' piano for playing and recording.
  9. Looking for a little guidance on this. They are looking to price the board, and I am having a hard time identifying what a midiboard might go for these days. There are a few on Reverb for sale now, for what look to me to me pretty ambitious prices. Similar for the rack. It looks like there are a lot of K2500R for sale for $700 and up… is that really what the market is for those? I’m mostly interested in the midiboard, but to be honest probably not at the $800+ dollars folks seem to be asking for them on Reverb. Any insight on what these folks could reasonably expect to make if they sold them on the open market?
  10. Roland Integra has a 'supernatural' timpani that I think can do that:
  11. To me it’s a question of degree. If Subaru wrote their name in big block letters over the hood or across the passenger-side doors, I’d think twice about buying, and would definitely figure out an after-market solution to make it less ugly. A little logo on the back and/or front? No biggie. That’s my issue. Small logos I accept as a necessary part of brand identification. Big aestheticly disrupted text designed to thwart any sense of discreteness or class? F that.
  12. It's never been an actual monetary/contractual issue for me, but I have taped over logos because: I don't want my audience reading text on the back of my keyboard when they should be paying attention to other things. A logo serves one purpose- advertising. At least with distinctive design, brands can blend aesthetic with brand identity. I don't mind if people recognize I'm using your product. I do resent that you expect me to help you speak directly with my audience, with no upside for me (unless I happen to really be into the logo). In any photography or videography, large text detracts from the image in a significant way. Having a big-ass logo and model number in an otherwise atmospheric shot just pisses me off. This is the biggest reason. I was so much happier with shots of me and singers once I taped over the massive "RD700GX Roland" on the back of my board. And I kind of liked the styling of the logo. It was just too obtrusive in photography. And, related, most manufacturers are designing those logos to be as disruptive and intrusive as possible. They're intentionally making their brand name as central as they can. Maybe it doesn't bother some folks, but I can't think of any other instruments where up to half of the visible portion might be taken up by a logo. I don't imagine guitar players would appreciate the aesthetic if a big FENDER was written large enough for people to read it in the back of the club on the body of every guitar. So, I don't care that much, but if the logo is 'too prominent' (based on my own judgement) I absolutely will cover it, if I can do so without drawing even more attention to it.
  13. Ok, both of those tracks are thrilling. I'm retracting my initial "cool, but a pass for me" take and revising it to: "100% worth digging into for more, but be ready for things I love, and also things I have zero interest in".
  14. I am an instant fan. As someone going through a lot of stuff right now (aren't we all in different ways?), that song just hit me quite powerfully. I didn't expect to be crying at an upbeat song at the start of my workday today.
×
×
  • Create New...