#1 shardware synth right now is the V-Synth GT!

Shardware f*cking rocks.

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...and FM's "articles" always seem like big paid ads. But as Jason said, whatever floats your boat...let's just say I'd have quite a lot of synths to get before reaching the GT on my lists.
 
Put it in context. FM is an over seas electronic/dance music-tech magazine. I’d be surprised if any ROMpler beat out a (VA) synth.

Which one do you think is better?

Is it about punch for the price? Then I could see it since the Voyager costs more than twice as much.

...and FM's "articles" always seem like big paid ads.

Everyone advertises in FM so why bother to rank anything over anything? And with the big 3 dueling it out, any choice would be a good choice between the XS, M3 and Fantom.

There's way more ridiculous magazines on the shelf.

One of the music tech mags had a review for a sequencer which the reviewer said he couldn't keep running long enough to get any work done. In the end there's a glowing blurb about how the manufacturer should be commended and how ambitionious this update is. Pure jokes. But it serves its purpose. The company gets another sound bite to throw up on its site and the review source is quoted and the reader who actually READ THE REVIEW has the understanding that the first version is buggy as hell and wait for a patch.

The Opp-end: why go by anything besides your personal experience? You should use all that media info to spark your interest, but look into it on your own. Even if they trash it- after an update or whole number version later it could be solid.
 
What does "overseas" have to do with anything? The rompler trio is just as prominent on this side of the pond...

Everyone advertises in FM so why bother to rank anything over anything?

The "whatever floats your boat" was kinda the point in my post.
 
And I thought they made something new next to hardware and software. Shardware LOL
 
What does "overseas" have to do with anything?
check the whole sentence.
…electronic/dance music-tech magazine.
Their context for everything is based on that.

****, look at the posts on this board…
Then look at WHO FROM WHERE doing WHAT kind of music is all about what gear.
Then look at WHERE that genre is flourishing and you’ll see where I was trying to go with that comment.
 
Wasn't trying to pull it out of context...but well, I don't think the handful of European other-than-hiphop-producers active on FP represent the scene, nor there even is such a thing as the "European" scene as whole. For example, there's a couple of fellow Finnish people on this board, but I don't think any of us do even remotely similar stuff.

Anyway, no point in bickering over this. Let's make some music instead :)
 
Griffin Avid said:
What does "overseas" have to do with anything?
check the whole sentence.
…electronic/dance music-tech magazine.
Their context for everything is based on that.

Actually, Future Music make a big point of NOT being an electronic/dance magazine; they were ten years ago, but not these days. They are a production magazine for all types of music. They run regular features on rock recording/production, for example. Listen to the demos that people send in every month and very few of them are electronic or dance...
 
I read FM on the regular.

They ran a special on recording guitar at home.
They just ran a feature on guitar pedals.
They have a current guess the guitar or VST simulator.

I don't consider them the music production magazine for modern rock or alternative or grunge or...If you're a rock and roll band you aint interested in ROMplers or Synths or....

They also ran a feature on circuit bending.
They also ran a feature on 'spicing up' your boring 4 on the floor patterns. Vocoding...

Point is- it's not US music of ANY genre.
If you've been following them they launched a US version of FM with all US genres that failed.

If you feel it's so well rounded in its coverage that it's universal then fine. Can't argue with your opinion.
 
I'm of the opinion that they do as well as any mag that tries to cover all bases.

It's THEIR words that make the claim of not being a dance magazine. They have too many articles on mic placement for snare recording and how to get your guitar to sound like the Chilli Peppers for my liking. They also feature too many interviews with rock musicians. Damn. I wish they would go back to being just dance, but the 5 people who would still read it would not be enough lol.

They have a strong following though, so the formula obviously works. Some rock bands do use synths too, like Guns & Roses did...and even the most 'old skool' rocker uses a DAW these days, don't they?

Funnily enough, they also had an Aussie edition that was just as much a failure as the American one.

Truly it's not US music of any genre, but then again any music made by the billions of people that don't live in the US isn't either. Perhaps US music is a genre in itself?
 
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I'm of the opinion that they do as well as any mag that tries to cover all bases.
Agree.

...and even the most 'old skool' rocker uses a DAW these days, don't they?
Running Pro Tools, not some quirky free sequencer from one of their round ups. No room there for praise of a zippy synth from KVR. ‘How to make a kick in Reason 3’. Who’s that for? When you’re reading about the keyboard and the reviewer mentions heading down to the pub for chips and a pint.

I can look past that and absorb all the useful info and even enjoy a taste of another culture. That’s me though. I enjoy their magazine and their forum community. I feel most of the information crosses genres and is just a good read, but my Old Skool reference meter is Pete Rock and not Liam Howett. The SP1200 and not the TB303.

So, in the context of this thread- it is my understanding that US music is more composition based. Bread and Butter sounds and a limited scope of synth tones as opposed to sound design for evolving pads and ambient soundscapes, distortion etc.

A radical board like the V-Synth? I doubt any US mags would have that in the top 10.

Perhaps US music is a genre in itself?
You could probably argue that or start a thread about how closed we are as a listening audience. We're splintered regionally over here.
 
Griffin Avid said:
So, in the context of this thread- it is my understanding that US music is more composition based. Bread and Butter sounds and a limited scope of synth tones as opposed to sound design for evolving pads and ambient soundscapes, distortion etc.

I think you'd have to define "US music" a bit better before putting out a blanket statement like that, even if it's just this thread...
 
I don't think I need to. Take what I said as it is. "Bread and Butter sounds and a limited scope of synth tones."

Ask yourself where is that kind of music?
Dominating all US media.
Every award show
Video show
Radio program
Top 40
Newspapers
Every top selling artist is using that style of music.

Further take every popular genre of music in the US.
Country
Blues
Rock
Rap
Jazz
Punk
etc...

I'm not saying sound isn't important, but the questions asked most from the US living Future Producers is not what synth has the best filters or the best modulation routing options. It's what synth has the best strings? What has the best Lead. The most real pianos.

What's the best thing all around.
Even sampling now is all MPC style chopping which is squarely comp and arranging.


You see the ROMpler vs Synth Wars. Is that happening in a vacuum or is that based on genres and sides of the pond?
 
Well, exactly. US mainstream music. And still - saying "US music is more composition based" has very little relevance to whether someone uses synths or romplers as sound sources. I sort of understand what you're getting at, though...but I still think the comparisons between US and the Rest of the World are too generalized.
 
Griffin Avid said:
I don't think I need to. Take what I said as it is. "Bread and Butter sounds and a limited scope of synth tones."

Ask yourself where is that kind of music?
Dominating all US media.
Every award show
Video show
Radio program
Top 40
Newspapers
Every top selling artist is using that style of music.

Further take every popular genre of music in the US.
Country
Blues
Rock
Rap
Jazz
Punk
etc...

I'm not saying sound isn't important, but the questions asked most from the US living Future Producers is not what synth has the best filters or the best modulation routing options. It's what synth has the best strings? What has the best Lead. The most real pianos.

What's the best thing all around.
Even sampling now is all MPC style chopping which is squarely comp and arranging.


You see the ROMpler vs Synth Wars. Is that happening in a vacuum or is that based on genres and sides of the pond?


Hmm..


Well can't help it if the kids these days are just into pre-sets.


But I wouldn't put a stamp on the entire US. Maybe just FP and to most of the kids who follow the "beatmaker" trend.


It is kind of sad though. Maybe if they were more interested in learning.. and respected their craft.. (starting to sound like an alternate reality now).




But on another note, who else has Plogue Bidule? I'm lovin it! Who wants to share some tips they've come across? :monkey:




*and for the record I read FM too.
 
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"Maybe if they were more interested in learning.. and respected their craft."

You’re treading into a whole other territory. Synth guys tend to feel they belong in some special category because they make a ton of their sounds from scratch and manipulate them in all kinds of creative and sometimes mind-boggingly complex ways. That’s great, but not necessary to make a great tune. Some compies exhibit great musicianship, which is also wonderful, but still not necessary.

If you take classically trained musicians and have them play contemporary ‘hitz’ with all their beautifully crafted instruments- you get elevator music.

If you’re programming an incredible patch in an amazing synth or choosing a preset in a formidable ROMpler- you are still not playing the REAL instrument.

In the end I see most of this as Artists using technical statements to settle subjective arguments. Make what you like and get there how you see fit.
 
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