The Death of the Man Cave. Is music hardware really better than software?

For some years I’ve been collecting and writing about electronic music hardware – good, not so good, and utter garbage. I’ve had fun popping a few bubbles while handing out praise where it was really due. But I’ve arrived at a larger goal than just sniping at the low hanging piffle. I finally feel empowered – I’ve used up considerable money and time crawling around the floor and behind racks, sourcing SCSI cables and voltage adapters, and wondering why the fuck this MIDI signal went the wrong way. I have seen for myself. I am one of you.

So, in this year 2019, is music hardware really better than software?

Better? We need to set some rules. Firstly, we are talking about musical instruments being used for music. Slavishly copying a sound plucked from some antique recording is not music. Matching the shape of a waveform on an oscilloscope is not music. These are feats for athletic carnivals or

Implicit in music is a listener, and that something humane is being communicated – awe, hope, fear, something worth listening. What does the sound of the device offer for others? You may be pleased by the feel of the knobs, or the type of wood at the cheeks of the thing, but what does this do for a listener? Maybe the wood inspires you to delicate adjustments, but it’s not a violin.

The way your machine looks, how pretty the lights, the styling of it – that has no bearing on its purpose. It may as well be a Dyson vacuum cleaner or an Apple phone. Sure, it’s well designed, by that’s not specific in any way to synthesis.

Some hardware running software to sound like hardware

Some hardware running software to sound like hardware

We need to verify what we mean by ‘hardware’ and ‘software’, because quite a lot of ‘hardware’ is a hybrid. A Moog model D is all hardware. A Blofeld is software in a box. But the Arturia Origin is software that runs only on a very particular microchip – when the chips are gone, the machine is extinct. Same is allegedly true for the Access Virus. Is this hardware? Because no specific hardware – no sound.

I am tempted to judge that only the resulting sound matters, but I have to concede that a dedicated controller might make reaching that sound more likely.

I’d also like to say that synthesis was once a futuristic thing, a desire to hear new sounds, make new music, go places that hadn’t been heard before. That idea started to die with Tomita and is now truly dead when you’re trying to emulate some noise from 40 years ago. Synthesis, as a mainstream activity, has become terribly OLD FASHIONED.

The Answer.

OK, so let’s start by my telling you I’m selling the majority of my hardware, such is the faith I have in my answer.

A mangle

A mangle

The time spent racking, un-racking, cabling around the back of things, assembling A frames etc. is like the days when people would run clothing through a mangle before hanging it on a clothesline. You can definitely run into problems with virtual studios. I have. But generally, when I visit other people’s hardware studios the damn things are NEVER FINISHED – a great excuse for why no music is being produced. In my case I’m now trying to reduce the hardware down to a single, stable, mobile rack. When one is carefully limiting the amount of hardware (like cholesterol) so that you can actually create something – that’sthe whole story right there. Are you a musician, or are you building a model railroad?

Fundamental point: the sound of hardware is often not that interesting. I’ve just sold a venerable (and very heavy) old Roland keyboard for some good profit. The reason being that if you divided the sound by the amount the damn thing weighed, you’d have no change left over for coffee. Any half decent virtual analogue could make that noise – especially Roland’s own. Do a blind test. Can anyone really hear the difference in a piece of music? You are a musician, aren’t you?

(Some hardware is interesting. For example, I’ll keep my UltraProteus because of the weird thought process behind its operation, the SY77 because of its particular timbre and the Super Jupiter because it has a deeply exotic stomach-ache. But I’ve sold the Yamaha FS1r because as crazy as it is, the sounds it makes aren’t that great. And that’s what matters.)

I’d like to jump to the last point, the most important point. Synthesis shouldn’t be nostalgia, it should be futuristic, progressive. Why did we even start this thing? Because we wanted more than the instrumentation that we once had. But now we’re cowards emulating old safe things. I say fuck recreating the Blade Runner soundtrack when we’re in the year the story was supposed to take place. Synthesis can now pull a sound apart, make a wavetable, or an additive snapshot, change every aspect of it, build entirely new sounds from audio atoms – and people are still talking about ladder filters?

If for example you spend enough time with additive synthesis in Alchemy you will find a world of experimentation. Or take a recording and hack away at it with spectral editing – that’s what I did with my records Donut and Aversion. It’s synthesis, but it’s not hiding in the last century. I can now say what I mean by ‘better’ – I mean true to the goals that synthesis is all about.

Or is synthesis really like steam punk – doomed to be a paleofuture?

11 thoughts on “The Death of the Man Cave. Is music hardware really better than software?

  1. “In my case I’m now trying to reduce the hardware down to a single, stable, mobile rack. When one is carefully limiting the amount of hardware (like cholesterol) so that you can actually create something – that’s the whole story right there. Are you a musician, or are you building a model railroad?”
    I think this is the most important point. For me at least a computer with a constantly updating operating system can be just as bad as a never finished modular system. Having a space limited tool case with a synth, sampler, some FX and a mixer is where i’m happiest these days.

    • I didn’t really express it that well. I’m at the point where my workspace has become oppressive. I can’t think for all the options, and so a single rack would be something I can throw a sheet over and anti-voila!

      Sadly it’s not likely. Good sounds spread over too may things.

  2. I agree we’ll mostly ,soft synths I believe are on the last cusp of being every bit of sounding as good as hardware bar a few.For me sound design is the polar opposite of music production .Put 10 multi band compressors in a row on a soft synth ,resample it , distort it pull it apart in a granular synth ,make slabs of sounds and use the appropriate pieces for your production pallet.Throw production rules out the window when sound designing.Just my 2 cents.

  3. I went fully in the box a long time ago and it was great in terms of convenience but I didn’t feel like I was “making music” any more, I was clicking dots on the screen that happened to turn into “sound paintings”. It was one step removed from computer programming, or filling out a spreadsheet.

    I now have a desk full of hardware boxes, some of which are extremely backwards-looking (Behringer Model D, for example – 2019 tech to emulate a device first dreamed up in the 70’s), but I feel like a *musician* when I sit down at this surface full of lights and knobs. I play the whole desk like a single musical instrument. It’s simultaneous performing and composing. It’s immediate. There’s more “me” in it, if that makes sense.

    • I think this is a valid point, but we have to worry it a bit. By touching the hardware there is less distance between you and the sound (one way to express it), but there could be even less. You could play a guitar or a drum. But then there are musicians who say that only by building the drum are you close enough. But then you could be growing the wood to make the case. It obviously gets silly at some point – but where? As you say it’s a matter of feel.

    • Barry D is better.
      1. Wood, like furniture for nerds
      2. Sounds very much like a Minimoog for under $500
      3. You get an lfo and hpf and I don’t see that on no stinkin’ Minimoog so you can take that boogaloo higher
      4. Behringer has made the chips for many synths including DSI and Elektron. Most guitar pedals in the civilised world have Behringer bits in them so Ulli can drop clones for as much as a plug-in in some cases, causing mass butt-burn amongst those of us who sold their modular to get some expensive tooth wizardry
      5. You get to have one analogue monosynth but beards have to be kept clean
      5. Basically you go, girl, because da mouse is da pits

  4. Are you a man or are you a mouse?!

    After futzing around with expensive, fashionable gear and hit with varying other expenses, I’ve come back to things that have sequencers, effects, and polyphony and memories in between. So I’d say keep your favourite easy-to-edit poly, because they just make life easier. It’s good to have something that you can grip etc

    Otherwise, you should keep one other small synth for school trips or couch composition and the most big sounding ‘museum’ synth you’ve got so you can point at it and note that you’ve sampled it on low humidity days.

    There’s definitely a peak number of synths as there are cats or crazy exes. That peak number is always three or four, which makes for a spicier life than none, but a more stable one than twenty.

  5. Too bad that there are no controllers that are tailored to software plugins (like the Korg MS20 ic controller). The direct access to an analogue synth allows for a completely different playing field. Also, the sound sounds even rounder and more natural to me and has a different depth and presence for my old ears 🙂 Both worlds are great. FM, Addetive, Sampling and Granularsynthese I can not imagine anything else. How beautiful and nostalgic an Ensoniq EPS 16+ is but that makes a computer more comfortable with a very good sound. And production in a DAW is a e heaven today .

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