You use a word salad to justify why a preset sound is somehow an abomination in making a composition yet an acoustic sound isn’t. You can intellectualize it all you want but the distinction you make makes no difference. A sound is just a vehicle to make music, not an end of itself. Presets or not. You need sounds to inspire you. I’m inspired and use sounds to express it. Your process isn’t “the” process. Maybe your music education has failed you. It maybe has narrowed your vision, not broadened it. It clearly seems to have made you narrow minded.

We all have the drone sounds with in us, our own personal rhythm, each and every living thing, it is truly amazing to listen to the sounds made by living things. Always changing, evolving, devolving, simply memorizing.

A very interesting introspection! I am a 'hobbyist composer' who can't really play an instrument (I try - I play live into my DAW and do all kinds of MIDI editing / quanitzing (and then re-humanizing) etc. I am embarrased to talk about my music, partly because I know that people will judge me on how I can play and recreate it. But some of the stuff I'm most proud of has been done in as much a one-take as possible. And I've also had to reverse engineer some pieces to figure out what's going on. Not a fruitless task - I've learned a lot from it, and then months or years later, had it validated by you and others on KZbin (For example, my perception of Chromatic Mediants was 'I'm doing it all wrong, but it sounds good'). In summary, your video strikes a chord! And I long for the day that composers and instrumentalists can all get on...

incredible compositions nice work !

Not just melody: melody AND rhythm. Reductions to "the one essential" is counterproductive. You can isolate melody at your peril. Adding dimensions --- harmony, rhythm, repeated notes, call/response, counting towards the beats, key respect (pattern within a scale ---not leaps/intervals), NOT narration. You are right about contrast, but that's 1/4 : contrast, repetition, alignment, proximity (CRAP.). And you left out the most compelling component: the lyric!?! The LYRIC. :-)

This is all comprises a very important message. I wish I had heard it (or been able/willing to understand it) 30+ years ago!

Underrated

Hey first of all, great video! I own a rev 2 that’s been in the closet for the last few years and… well it’s time to pull it out and dust it off. Minor constructive criticism: always use manual focus on your camera for these videos and you will not randomly go out of focus.

5:20

stopped watching when he said "what i like to do is start with a blank slate" Good luck with this lol

This is one of the best analog synth plugins. Problem is it just eats cpu like hell.

Whats the track named you start playing with at 4:30?

“I FOUND YOU” I appreciate your knowledge and perspective on these synths! I watched several clips with you talking synths, but this vid grabbed me like you said the P6 grabbed you. I hope and pray that you read and respond to your comments? I would like to connect with you to collaborate on music creation! I’m developing a sound similar to what you played at 05:36 🤤🤤🔥🔥💯 I would love getting your help!???

Would love to see some new geartube videos, miss your thoughtful approach.

The Rev 2 is sequential’s agreat solution to selling their only profitable idea cheaper without upsetting people who buy into the prophet range - there is absolutely no way a prophet can’t be emulated by a Rev 2 sequential don’t want to hurt any prophet owners egos or loyalty - Dave said his favourite synth was the Rev 2 probably because it kept the lights on

Oh man, I’m torn between the moog muse and the iridium.

yt39

i constantly put myself to nap with my own ambient music

What's the piece at 0:48? Sounds wonderful, I suppose you wrote it yourself?

Composing and recording are also two entirely different art forms, just like playing / performing and recording are. I have been doing the composing and playing on a pretty highly skilled level like the major part of my life, but it wasn't until I took the past 3-4 years to master the art of recording, audio editing and mixing, to finally also be capable of actually putting all my compositions on record in a a similar professional level as my composing and playing already had been all that time.

Bravo! "I still love Sound Design and I still love Harmony"...... qui trovo la magica sintesi dell'emozione che mi dai mentre ti ascolto! 🐢🎹🎼🚀

Oh shit, he has a bottle of Fortaleza. That dude was living it up.

I don't know if this is toats out of the ordinary, but when it comes to coming up with music, I usually either jot it all down on notation software, or create a recording on a DAW like FL Studio or Cubase (depending on the type of music), how do you think one could find a good balance or middleground for writing, and DAW usage for compositions? (Perchance even considering synthesis, where you can't quite notate a lot of what you could do with synthesizers) I also wonder if such routes change, from when going from making some kind of pop song, to game or film scores. Thanks! Let me also say that I just now came across your channel, and am very intrigued with your stuff. Your route in music is pretty close to how I imagine mine going, so this is very interesting.

You can always tell when a person has educated themselves and then applies that to, in this case, producing music. As said, a country mile away from the bedroom boys. Such individuals continue with a philosophy of mind and then travel a road in their desired discipline.

Thank you for your content. It's a joy to watch you detangle many music miffs in such a refreshingly entertaining way. Amazing work sir!

Love the track at 9 mins 🎉

Nice work. This actually reminds me of the music from Portal 2.

I got rid of my first synth but I got it back. Does that make me a murderer and reincarnator? It's a very old MiniKorg. These days I'm playing my old Korg Wavestation EX, My King Korg, my Korg Kronos and my Moog Grandmother. I find that for interesting and evolving pads, the Kronos just kills everything else. It's now 14 years old but wow!

7:10 Does this technique work in the 5 octave range (around 500-1000 Hz)? With the same pressure of course.

3:08 What song is this?

Take a saw wave, put it through chorus and delay, then do filter sweeps on it. Yummy.

amazing

Hi, I swear I am NOT a moth, and I’m here for the lamp.

I'm looking for a Record Label Missionheavens777 at bandcamp

First, i really recommend the book, Romance on Three Legs. It's about Glenn Gould.Great reading.Second. I always loved rock music and wanted to play and also write it. I'm 69 now and have toured Europe as well as a lot of Ontario. When i first started playing in rock bands, wow! Was I ever stiff and clueless. I did have one thing in my favour though. I always could improvise, I used to do it all the time on my piano in my parent's basement.This served me well. Now I own my own little studio and write and record my own songs. My clssical chops are long gone but I can rip out a synth solo or on organ solo like never before.

Oh the irony, the video ended and then I got the Unison Audio ad. "do you know how to make chords?" lol

I though you were going to talk about something else (take this as a suggestion)... sometimes you have a piece of music that you composed SPECIFICALLY to a given patch / program in a specific synth. years later, you want to reproduce it in another instrument, or maybe in a piano or orchestra, or, whatever.. the question is.. how you capture, with traditional writing system, the intrinsic parameters of a that program ? how to write "programs' with music notation ? are we doomed to lose the specific textures of a synth program we created in time ? and just "approximate" by memory ?these are open questions that apparently nobody is tackling

HOT NEW ROCK ON BANDCAMP BY CLAY IRWIN ] IT ROCKS

😂 I love this!

good god, the jam at 6 minutes spoke to my soul

And just wait until you show a Classical music teacher and musician Trackers like Renoise