When I Acquire Gear... and When I Let Go
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- Опубліковано 10 чер 2024
- Let me walk you through my personal journey a bit when it comes to gear, hopefully this answers some questions!
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#modular #synthesizer #filmcomposer #buchla #gear #musicalinstruments - Розваги
As usual you nailed it all on the head! Excellent video and I relate to everything you’ve said. Great work
These are my general rules of thumb.
When to get gear:
(1) you have the money to
(2) it inspires you/makes it easier /etc to make music
(3) it fills some type of void that you should fill
When to sell gear:
(1) when it isn’t being used or
(2) when it inhibits my music/ability to make music
Well said.
Initially I always acquired more gear as I felt I needed it to become a better songwriter. That is a fool’s search.
I would say nowadays, with computers how powerful they are, start ITB. If you become prolific at writing and find that you cannot get a certain sound without hardware, THAT is when you should buy hardware. If you need a tactile and hands-on approach, I can understand that, but it can (not always) become expensive.
Thank you for being the main source of inspiration for me, Tom. Your scores are the reason I have a passion for film music and the reason I want to become a composer. I love your work and these videos you put out on UA-cam for free. Keep doing what you love, keep inspiring others like you inspired me ❤
I too have this problem. I just got rid of a synthesizer that was sitting in a rack that I wasn’t using and I truly believe that gear requirements syndrome is a problem. Some people might not think it is and think it’s funny. We call it gas which is a funny name, but it can be a serious problem.
And on my videos on my channel, I have talked about it, and I was in favor of it and make jokes about it, but you nailed it Tom, thank you for the video, and I am about to purge a bunch of equipment myself. I find myself buying gear and being inspired by that gear for , couple of weeks couple of months maybe. But then I look for the next piece that will inspire me and I find myself not writing music on my channel. I do a lot of unboxing videos and some demos and they quit little Diddy videos, but I find myself not creating. I’ve been working on my second Echo Kraft album now for probably about six years, that is not good, so yes gear requirement syndrome is a real thing. Thanks again Tom for this great video as usual I learn a lot from you and I did meet you at the 2020 NAMM show in California and took a picture with you. You’re a very very gracious gentleman. Thank you.
"I don't need that much gear anymore", with that backdrop it sounds almost funny hahaha
Yeah , I actually had to clip that for the sake of it . Still he has some valid points , even if he is sitting in front of the biggest wall of Buchla !
For sure, Tom, for sure.
I was actually typing the same thing. hahaha. mmmh
Thanks Tom!
thanks for all your hard work Tom ❤
I understood. In the 90s, there were not all these tutorials and you had to experiment your machine yourself. This is where all the diversions and techniques took place. Long live the happy accidents
Yeah. This is the downside with anything. Even if people read books and they all read the same books, adopt the same thinking from eachother, there tends to be less originality. I often start out in the opposite way of just learning things myslef and I then come up with more original stuff, but lately I try to learn about music theory and instrumentation (mainly being inspired a bit). and although it seems more of a struggle to be original now if you know 10 ways that something 'works', I do think it's important to kinda have both. If you tend to look up totorials, tehn try not to and if you tend to just figure stuff out on your own, then some tutoriall might really speed up processes since you do not have to figure out everything from square one yourslef. I had years of making songs for example and some 'had it' and some did not have 'have it' for me ..and now it turns out I just sempy liked the harmonic minor and some similar scales like that. However, I didnt evne knew what a scale was when I made the songs that had or or not had it. So you definately do not need theory, but now I can much more easily give it that specific X-factor that makes a song sound good from the start by simply picking the notes of hte harmonic minor. Scales are really useful in my idea cause they just decide so much of the flavour your song will have. I think knowing chords still does not really matter, as to my anything could be a chord if I threw 3 notes together. Now I know some are dim, but some sus , some are minor or major..but it does not really mattter. I did hear the major/minor thing right away though and always prefered mayjor. If you're deep into music you likely have a zillion ways how you should use them, but I like just adding progressions that do not too quickly resolve and build tension with that. The higher the tensin, the bigger the release...but anyway, back to the topic ...
The odd thing is though that with knowing what things are offially you constantly have concioously decide if you follow some rule or not and that is one part I like less about it. I used to just try anything nad if it sounded cool I would do it. Sometimes that would be what I now know is a modulation and sometimes it were just borrowed chords or sometimes other things that I still do not know the names for ..but each song was it's own own journeys of experiments and now it's so easy to be lazy and go for some tool that works straight out of the box..so I soon I wanna start going back to the old way to see if my results are journey is better or worse
I'm a gear nut (see my name) but I'm glad Tom sold some older stuff and got into Buchla stuff - it's very unusual and inspiring at the same time which is why Suzanne Ciani used it forever and Alessandro Cortini and others have embraced it for melodics and sound design
I have the Buchla knock-offs and clones (Make Noise, Erica Synths, and some iOS apps) since I can't afford the real stuff - it is a lot of fun to learn and use but it takes work and creativity
It is so hard to get rid of nice gear... the struggle is real! ;-)
I always love your video
As someone who has purchased an embarrassing number of guitars recently this video was right on time.
I love this guy. Keep going Tom 🔥🔥🔥🔥
Gear acquisition syndrome is a real condition.
So is plugin acquisition syndrome.
Vince Clarke recently said he got rid of a lot of vintage gear. Replaced with modular.
More importantly, what impact, positive or negative, if any, did it have on his music (i.e. quality and quantity of output)?
Interesting what you say about processing overly classic synths with character. It does take away the impact and distinct character.. also made me think if it then still made sense. So my motto became to keep the instruments signal as pure as possible te indeed have that extra 20% of impact or vibe compared to some emulations. I find it hard to take distance from my vintage monos. Despite being so limited, it turns a smile on my face when using them or hitting the lower notes. It is so instant. I think in essence that the more complex sounds and poly sounds can be done itb easily but it is indeed true that with plugins you miss the hands on performance part and directness of control. Finding a modern synth that works intuitive and embraces you like a warm carpet is a challenge. A collection also creates headspace… not necessarily the empty creative headspace you need to make music…
Hi Junkie, would be really cool to also see your analog compressors/eq's or any funky vintage stuff you like to use. Interested to hear your thoughts on what gear you first started with early in your career, cheers!
My GAS subsided after I ran out of hp on my rack and space to use everything. 😅 Though I've always wanted a Buchla system to explore. Maybe one day. 😊🎶✨️🚀
This is one reason why I’m not into hardware anymore… because I always feel limited in sound exploration. So yeah, we can use modular, but then comes the problem of efficient, quick recall, etc… That’s why now I’m more interested into software, easy to save & recall and it’s pretty much limitless for sound exploration, you can easily stack layers of multiple plugins, use your old favorite synths one minute and then explore a full blown modular the next minute… The only real missing right now is a proper keyboard controller. Don’t get wrong, there are already nice controllers, but I would want something that goes even beyond in terms of tactile experience, hardware-software interaction and control. I like where NKS is heading, I like that we find more and more MPE controllers, more polyphonic aftertouch, I just wish for something like a NI Keyboard Kontrol mk3 with faders, pads, touchscreen, something that would look like a workstation and synth put together, but used only to control my favorite libraries and virtual synths… We’re not too far from it, and it’s the only missing piece in my perfect setup. Of course, YMMV, to each his own… for me, software has been the solution for my hardware sound exploration problem.
I would love a deep dive of your usage and sound design of the Waldorf Quantum. I have an Iridium myself but most videos tend to just play the presents instead of showing how to get the most out of it
Hi Tom, could you please do a video explaining how you got into composing music for film? and maybe some advice for anyone trying to get into that field. Cheers!
Please tell me you haven’t sold those gorgeous ART preamps!!! Wow. Those are heirloom items. Also any updates on the NFT would be appreciated! You’ve got a blooming and committed community waiting in the wings.
I always buy and sell.
It got me working for Yamaha Drums, and Reverb in Europe.
There is something about the trade.
And it helps trying gear you otherwise haven’t have the money for.
Thats why I started with this anyway.
Well sir
We don’t see many buchlas in the wild because not so long ago you could buy vacation properties for the asking price of one
On the contrary they are amazing modules good for you and I’m am very happy tiptop recreated some of them for me to obtain
Even if they aren’t spot on
It’s been fun to explore the different mindset of a buchla
The best synthesizer for me is my Moog Subsequent 37. I wish I had 5 of those.I also have a Prophet rev2. Don't know if that will stay. All my other synthesizers were sold pretty fast after buying them. 🤔
Sound and DAW integration are most important for me. The Moog does both very well.
The DAW recall on Sub 37 is absolutely a killer feature. All synths should have it.
@@Stakkeroid indeed!
Honestly, I'd love to hear you run a Jupiter-8 through the dual 296E combo... (you probably still have a VST hanging around somewhere). I just feel something really old, stale and boring can come to a completely new lfe in a different combo. And vice versa. That Buchla running through the old 4-track at slow speed was just stunning.
hey there
❤❤❤
❤
Hope to see you saturday :)
Tom, how many of your past purchases were like "I just want this" as opposed to "I actually need this for a project"? I've bought quite a few synths I've played around with, but never used in actual projects. Groeten!
Sounds drastic the way you then had vintage gear and then got rid of it, not servicing a synth when it breaks down. I do understand as I have some issue gear here too. I have my Minimoog from 72. Lots of old clockworks series by Eventide. These tools are of ultimate power when it comes to uniqueness and power. I also acquired an Easel Command which is great hete too. Love your videos ! By the way we met at one point too when you played with Nerve here in my town.. 😊
It is always time to collect and sell :)
Anymore gear for me equals = Divorce :) Thanks for your insight!
agree, I'd like to know why you have an untreated room, you can hear in the video it sounds bad.. do you just let someone else deal with the mix these days?
Yeah, you had that major gear sale at a good time. It all went up for a little while after but pretty soon after that it all dipped and nobody is buying now. Things are finally getting to some more reasonable prices. Something people have to remember when picking up any kind of "great deal" "as-is" vintage gear right now is it's going to be near impossible to find a tech. Don't think you're buying that fixer-upper and sending it to synthchaser or anyone else. All good techs have basically stopped taking new work because everyone is so booked up. If you can't fix it yourself, don't buy it.
Hi, here’s another thought..
If you have gear that you really don’t use and you’re not really in need of the money then maybe consider just giving it away to a friend.
Kind regards,
Your friend
I did that, Wavestation EX (sticky keys and lack of filters), Novation Bassstation Rack (bass drop when closing filter bugged the hell out if me), Juno 106 (world most expensive noise generator), S2000 sampler including Zip drive, SCSI interface, and FX board, 128 Mb ram, never clicked with the damned thing (now I use Kontakt). Never regretted it. Karma is important. And stuff collecting dust has no value to me. So why not give it away? If you don't need money.
I see what you did there! Anyway, would love to know Tom's thoughts on this. Kind regards, Another Friend.
@@carstenaltenaLOL
Synths are forever imho. It takes many years to master all the features of a synth and make it sing for you in a magical way. If you sell it is because of your inhability to take it a step further so you give up on it with the excuse that it wasn’t being used when in fact you just couldn’t get past your own limitations with it.
I’d suggest you keep your gear and instead stop buying any more
If you "need" hardware synths:
- Access Virus TI
- PPG
- any polyphonic analog synth, like a Pro-800 or so
thats all you ever "need" 😅
my GAS-Brain:
- no, I need them all for sure
- NOW
Cheers Tom, don’t agree with you that by running the mention instruments through distortions pedals you lose quality, you just add overtones and different flavour to an already reach fundamental tone, also the vintage samplers you owned and the sounds you were showing were so beautiful and unique far from a cliché.
Ensoniq Mirage has not an identifiable tone at all but what ever you put in it is unique and unrepeatable by any other machine (i think you should have kept at least the samplers).
Anyway even i don’t agree with your radical choice of selling everything old for the new one i still love your taste in sound design and TASTE in my opinion is far more important than gear, talent, or any kind of musical skills.
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“I don’t need that much gear anymore” lol
What’s behind him is nothing compared tho what he had :) but that’s XL you know :)
Buy when the price is low, keep stuff and sell when the price is high.
pretty simple
buy when you have money
sell when you have no money
I say sell the gear that you don't use and keep the stuff you actually use. I had many items that were really just ornaments to make my studio look good, in addition to this being a waste the unused gear gets in the way because ergonomics are very important, you need the gear you use within easy reach.
I’d never sell my rack samplers
@tom I got your Furman power conditioner from reverb 😅
Stop changing the frame zooming in and out!!
Agreed, I thought that was a little annoying.
Yes. I assume the intent was probably to try to add some visual interest to a sitting, static subject, but it quickly became very distracting and irritating. Enjoyed the content though.
@@jimwilson5411 I recently watched a popular political commentator's video and they were doing the same thing. I wonder if it's a technique someone is (errantly) pushing?
Over the years I sold my MS 20, then I bought another one, then I sold ist again, thought, nah no need. Bought a MS 20 again , but the prices have been risen in extreme...now i keep all the old stuff for my grandchildren.
I can never let go. I have an innate fear of selling gear.
says the guy behind a wall of gear. lol gtfo