The guy who designs the Olegtron stuff is a friend of mine and a really cool dude. He’s got insane skills in making everyday household appliances into musical instruments etc. I’m always delighted when I hear that somebody has bought some Olegtron stuff cause that means that Olli has some more money to do his art & stuff.
In other news: My latest purchase was a second hand expression pedal for my effects pedals and for my SY-300 Guitar synth. Feels like a boring purchase too, but really adds to the experience of using the stuff I had.
My latest purchase was a CL-1 cloudlifter. Its adding an insane amount of clean gain to my telefunken M81 mic which was always very quiet before. Strong recommendation for anyone with gain hungry dynamics like SM7B etc!
My intentions with it? recording vocals, guitar cabs, percussion for any project that needs it. Hmm, probably not needed for micing a cab, those can get pretty loud
Oh yeah, a PL cover for my AH came in the same package as well
ACB is a joke to some of us, dont you realise romanticising these sounds is borderline insanity without compressors and the such? would never bash anyone’s creative outlet.
Dude, the original 808 doesn’t sound too hot without a good chunk of external processing…
I take your point, constantly looking backwards isn’t necessarily ideal, but I’m perfectly happy with the ACB stuff for what I’m doing (mostly mid-90’s electro and Gabber) but I fully understand that it’s not as good as the real thing. If I had a spare £10,000 knocking around I’d have a studio full of the real thing, but neither my wallet or ability would justify such extravagance.
A Samson microphone stand and a Shure clip; it was intended for karaoke use at New Year’s Eve, but arrived too late. Oh well, it’ll still come in handy.
And my Keystep came back from being repaired (or rather appeared in brand-new guise as the old one was completely knackered).
I’ve owned all the original vintage Roland stuff and now have most of the ACB stuff, in many ways I prefer the ACB ‘toys’.
But of course like the originals they are not perfect, and just like any other piece of gear they have various shortcomings. I think people tend to put the original machines on a pedestal because of their legacy, but it is important to remember that without the artists making the music with them and using them in ways that overcome/bypass the shortcomings they probably would have been long forgotten like many other machines of that era.
Had those same artists have had the ACB versions back in the day then I doubt that they would have dismissed them as toys either.
My latest purchase was the Mother32/DFAM combo.
I wanted to have the full (often talked about) analog experience. I owned VA’s, I own the A4 and I’ve owned the 0-coast.
The 0-coast misses the classic analog filter, the A4 is often said not to sound so analog, or classic analog, so I thought I try Moog, which is probably the most famous company for analog synths…
And the DFAM promised a different way of doing things, getting happy accidents, surprising sequences and sounds. And well, it does. It’s very cool and fun and I love that I get a lot of Reznor like industrial beats out of it, which I usually rarely created.
The mother 32 sounds absolutely lovely and is one big sweet spot. Every knob turn results in a lovely sound. But I have to say, imo the A4 doesn’t have to hide behind these Moogs soundwise. It’s sweetspots are harder to find, but it can do so much more and it can sound as big as these two moogs in my opinion. It also cuts a fine fugure next to the sub37 of my bandmate. So finally, I really can stop doubting if the A4 is sounding weak next to Moogs etc.
It still was a great purchase, they team up nicely, have clever patching options, sound great and are extremely hands on.
I have bought a launchpad pro to emulate a monome. Got it real cheap and actually really impressed by it.
Next thing to test is if the digitakt will respond to PGM messages launched from ableton clips.
