5 Reasons You Should Get A Hardware Synth 🎹 (And 5 Reasons You Shouldn't)

[@VenusTheory]

May the 4th be with you! Ready to get some hardware? Grab some new gear with Perfect Circuit! bit.ly/3nwp4PL

[@julko28]

Well i have bought Cobalt 8X last week and i must say i am kind of impressed with it's great analog emulation. It does have a con though - no any drive whatsoever and it needs that. I do hope they will fix it an next update or in better words with Cobalt first update. And to touch upon difference between Hardware vs Software is well none in sound except of physicall touch. You can't hear the difference in mix. But i love me some physicall knob twiddling. I bought it by selling Novation MiniNova for 300 us dollars or 250 euros and selling a soundbank. So at the end Cobalt 8X cost me those 250 euros :) Talking about bargain

[@Boondokker]

I'm 62 now. I've been interested in synthesizers and MIDI for a long time. When I was younger, much younger, I could barely afford to have Roland send me colorful brochures to look at. And someday, I figured, I might be able to buy one. But someday never comes, as we all know. Today I have a dozen synthesizers on my computer, Cherry Audio got me hooked. Plug-ins are the best thing that has ever happened to me :-)

[@blackorangegraphite]

I love them too! ;)

[@thest-c4700]

I'm 56 and I think exactly the same. I have all Αrturia synthesizers and I'm very happy to have one Synclavier that cost me $ 200,000 in my youth.

[@montxsuz]

I am 61 and bought my first Hardware synth when I was 21. It was a pre-Midi Korg Mono/Poly and I did not pay anything near $200k. It turns 40 this year and I still have it - in mint condition - though my kids don't really appreciate it. :) Today my room is full of hardware and cables, and my computer is full of plug-ins. But there always seems to be something new to grab one's attention.

[@thest-c4700]

@@Tylerkawaii 200.000$ in 1982 is 560.000$ today. In order to buy it with the money I made then in Greece, I had to work for about 15 years without wasting any money on anything else. Today I did an upgrade on the Arturia instruments and the cost for the same was € 12

[@thest-c4700]

@@montxsuz My first synthesiser is the same. Korg Monopoly. I still have it but I have all the Korg plugin. And Korg monopoly.

[@PanDownTiltLeft]

Excellent video, Cameron. At 14 years old, as a nascent guitar player, in 1971 I walked into a music store that had a Mini Moog. Playing it was someone that knew what they were doing and I was mesmerized by it. My love of music and love of gadgets and electronics was energized at the sight of this contraption. Fast forward 10 years and I was working as a software engineer when I was offered a contract to write software for the Rhodes Chroma. I had never heard of the thing but I took the job and learned an immense amount about synthesizers and music in general from the gentleman that hired me for the contract. He wrote commercial jingles for a living and was quite well off as a result. We remained friends and would talk about technology and synthesis at length. He kept me up to date on the pending development of MIDI that he was very excited about as was I. In ‘83 my friend bought a DX-7 and called me up to come over and have a look. I was smitten with it. It was far out of reach for me financially but I was still in love with it and dearly wanted one. In 1985 I decided it was time to bite the bullet and buy my own synthesizer. Upon my friend’s suggestion I bought a Casio CZ-1000. I bought a Roland MPU-401 MIDI interface for my PC and a copy of Voyetra Sequencer Plus and never looked back. About six months later I offered to write MIDI software for a local software company (Sonus) - I offered to write a voice editor librarian for the IBM PC for them. They were publishing Atari ST MIDI software at the time. I told them I would write it in exchange for a DX-7 and they went for it and they published it as DX-Design. By 1987 the DX-7 was becoming a bit passé and I decided to sell it before the bottom fell out of the market for them. So I did that and bought a used TX-7 for $200 so I could at least keep the tone library that I had accumulated. I also bought a Roland D-50 that year to replace the DX-7. Today that D-50 is in my home studio as my only midi controller/keyboard. The TX-7 sits next to it. They connect via MIDI to my Mac and the audio connects via a focusrite interface. My guitars connect to the mac via a USB A/D cable. All going into logic. The only plugin I have ever bought for Logic is Trilian the bass plugin. I found the existing plugins and virtual instruments supplied in Logic are plenty for my needs. My needs… I should mention that while I have played in a number of local bands as a lead guitar player, I have never made a living with music. Today my music production needs are to provide music for product videos that my company produces when the client eschews the use of stock music. For that, the small amount of hardware that I own is more than sufficient.

[@HeavyListeningMusic]

I like to use both together. When software isn't inspiring, I go tinker with the hardware. When hardware isn't quite getting the sound I want, I augment it with software. When I want something my hardware doesn't do, I look for software that does. It's not an all-or-nothing proposition.

[@andreasoberg2021]

That sounds exactly how I think.

[@ZethKeeper]

"Sad minor chords with reverb on them". Man I love your intros.

[@chara020]

Agreed

[@enossifiedossified3145]

Great video and very clear about the issues. I started out with 100% hardware because there were no computers and DAWs in 1975.I started with MIDI sequencing in the late 1980s and used tape until 2004 when I finally got a digital multirack. In 2011 I finally starting using a DAW for audio recording and some sequencing, but still sequenced mostly with hardware. In 2017 I sold ALL of my hardware and went 100% with software. I had owned modulars, workstations, rack units, desktop, mixers, effects boxes, you name it including a lot of the vintage Moog, Roland, ARP and Yamaha gear people drool over today. I recenly packed up all my old cables to give them away and filled up 5 cardboard boxes. I can't imagine how much money I spent over the years just for cables! I now use nothing but a computer, an audio interface and a MIDI controller. I miss the fun aspect of the hardware but not the expense...I had about $4000 sunk into just my modulars at one point. So to someone starting with software but jonesing to get into hardware, here's someone who went the other direction (somewhat by necessity) and is telling you the best path is to really think long and hard about what you need vs. what you want. Wants are endless, needs are not.

[@LukezyM]

Good point. I think the hybrid approach is the best. That way you satisfy the child in you, with a few hardware pieces and also get things done in the software realm. But, it really has to be a few pieces, just to scratch that itch.

[@thedoublek4816]

I was working 100% DAW-only for some good 10-12 years. In the end, it almost made me giving up on music entirely. Producing music simply didn't keep being fun for me, the in-the-box style of working killed my flow, my creativity and just put me off. I was often scrapping / not finishing tracks because I've got so fed up with it. Music production started feeling like a chore, like some unpleasant task which has to be done and forgotten afterwards, not like creating art. I haven't opened a DAW in 2 years already, all my music related activities are currently on halt. Who knows if I'll ever get back to it. One further reason could be that I don't see myself as a producer type of guy, more of a player, given my musical background (piano/keyboard). Therefore I think that the only thing being able to get me back into music production are hardware synths.

[@lifecat8]

I mostly NEED just Software. But i really NEED at least one hardware synthesizer will a full keyboard, so i can play something. Clicking every single note in is tedious and doesn't make fun. It feels like putting a Djembe Loop togheter out of samples, instead of playing one. And of course for the fun, to turn knobs and twisting an sound in real time can lead to interesting sounds. I lend a few synthesizers years ago.

[@geoffk777]

Like you I started in the 70's with hardware, because that was the only option. I got my first DAW and softsynth about 15 years ago, but wasn't really that impressed. But, since then--especially in the last 5 years--the improvements in softsynths and computers have been astonishing. Even my iPad (which has dozens of full-featured apps) is more powerful than my older hardware and sounds better. I still have quite a lot of hardware, but I could see myself going software-only at some point. As it is, I try to limit myself to hardware that's unique in some way, and that my softsynths don't duplicate. And my softsynths are really my go to option for DAW recording --and even for analog sound performances in many cases (OB-E sounds better than my real Oberheim Matrix-6!).

[@azurduy117]

We should note that software can get zapped by unwanted OS updates, compatibility issues can arise, licenses can be a nightmare, and the latency can kill real-time performances.

[@seankelly3540]

latency is for sure an issue, as someone who uses almost exclusively software

[@wavesequencer]

I love my hardware synths, but if working on a score for film and the producer decides to re-cut the scenes, being able to recall the project and re-arrange score/timing with just one machine/from any location is a life saver. What the market is missing is dedicated MIDI hardware controllers for specific soft synths with pre-mapped controls and screens that let you work without looking at the computer - but where the audio is still processed in the plugin.

[@TaiWyban]

They have those. I've seen one for the tal uno (juno clone) no screen, but an ableton push could probably do that too.

[@Chyuuch]

virus ti best of both worlds

[@JCrashB]

As long as I have neither the space nor the money to afford hardware, I'm depending on software. It's that simple.

[@marcinha1973]

I recently sold all my hw synths, had a total of about 20 over the years. Bought a digital piano, put it in another room where I am not distracted by any computer screens and VST’s. Do all the composing there. When the music makes sense with just the piano sounds I pretty much have a good idea how to orchestrate it and with what sounds. With hw I made sounds, not too much music. The sounds where hijacking the creative process.

[@lokelosk]

After two years using only soft synths, I bought my first hardware one: an Arturia Microfreak. The workflow is completely different. It's like a box that just works, it feels like a "real instrument". I don't have to fiddle with configuration or too many options, I just use what it has. However, I'm someone who thrives in limitations. I'm that guy who likes to plug his guitar straight into the amp, or maybe use 1 or 2 effect pedals. Soft synths are definitely more powerful and I'll keep using them because of that, but I like the idea of having some hardware to look for inspiration. However, I already know what I want, no GAS here, just need enough money to buy a Yamaha SY77/99 in good condition and to order an Arturia Polybrute (lol).

[@HOLLASOUNDS]

Yes same for My MiniNova, I hardly even use its sounds in My Daw created music it's for fun mainly.

[@cyborgchimpy]

I know its been a year, but I also recently got my first hardware synth, which also happens to be the microfreak. ive also owned a NI Maschine for 3 years for the same reason of getting more hands-on with my music..but it's hardware is not dedicated to the synths that come with it. still needed to dive into the UI of the softsynth to actually properly tweak the sound of it. I also totally get your "thriving in limitations". like I mentioned, I own the Maschine as well and its great but I hate the fact that its got just...WAYYY too many presets. its a bit overwhelming though they did a good job categorizing all the sounds, instrument presets and samples its still a bit over the top. i'm talking about tens of thousands of presets and samples if you throw them together.

[@jeffagoddard]

Seems virtual instruments are the future. Hardware is beyond the reach of most budgets. If you bought Arturia V Collection, NI Komplete, and maybe a few free VSTs, you’d have the sounds of hardware instruments worth $50,000+ from a sub-$1000 investment. True, software retains little value, whereas vintage keyboards and synths keep getting more expensive. But, who’s got $50k to buy and collect all those hardware instruments? I sold a lot of my hardware in 2020/21 and chose to focus in virtual. I love taking ALL my instruments where ever I go on my laptop - it’s amazing!

[@yakmartin5429]

Dunno if anybody had already pointed out: Hardware Pro: Has its own "personality", your own workflow, looks at you saying "play me" even when the monitor is off; Software Pro: Automation. Thanks for your great work! 🧸❤🕹🎹

[@davidpetersonharvey]

One thing worth doing with either software or hardware is to set limits on each project, like only using one tool or a limited set. I want to do some videos where I use one synth for an entire song, like my Juno 60 or my Model D. It's a lot of fun and can give you ideas for projects going forward while making you explore each synth to a greater degree.

[@antfactor]

I'm actually thankful I started back in '82, with a single Juno-6 - no patch memory. It forced me to be creative with "MASSIVE limitations".

[@nzprojects]

I totally agree with hardware pros. Been using midi controller and VSTs for a while and i feel overwhelmed with options and bored with mouse clicking and monitor staring. I am saving now for Juno-DS and Roland TR8s hehe 😊✌

[@micindir4213]

I'd say you've got to have each of every type. Not sure about drums , though. Kontakt and push do a good job of drum sculpting. One being preset machine, while other is very potent sound design tool. As for melodic things, I suppose its fun to have some analog voices ready to go. You know, just open blank session with midi channel, play a note and you have a proper sound. No mixing, no eq, no compressor. Crave is a good example, but so is volca bass. A proper sound that is ok to build upon. Same with other sounds. Now when it comes to workstation type instruments you get to pretty interesting territory. They excel at being played like an instrument and the more tracks you play in, the more it sounds like this particular machine. I mean Triton has its sound and you cannot escape it. Very bright, open, bold and loud. Contrast it with murky volca bass and you would get something. Of course the cheaper the instrument is the less it is capable. I'd say your selection is good. Maybe consider small monophonic analog synth, like volca bass or keys. This setup might help you write faster and better

[@HieronymusLudo]

I'm a hardware music maker, and starting out I found that I had to go through a good handful of gear before finding out what instruments I gel with best, what I want my setup to be at its core, and how to expand from there. I wouldn't be making music if I just sat at a computer DAW... I need that tactile, limiting but creative "interface" to make music, that's how it works for me. But it can be a frustruating journey to come to that hardware setup, especially because you need to figure out a LOT of perihperal stuff to make it all work.

[@neonvoid]

the best thing happened with me was to start using my push2 controller. it combines the best of both worlds: tacticle feedback, no mouse, no keyboard, no screen - but all the power & versatility of the daw (and eveything recorded ready for arrangement & post production). also great for live improvs & performances

[@niedec_hello]

One other pro for hardware not mentioned is how much CPU space you can free up recording. I have a Minilogue XD and a Dreadbox Typhon that both have a 32-bit, 96khz effects section. You can have a saturated analog bass with an analog lead using distortion, reverb, and a flanger at a 0% CPU increase. That's amazing. My workflow's mostly digital, but when I need an old-school analog sound or something that needs a ton of FX processing, I like using hardware.

[@mmount4963]

For me it all boils down to, Hardware is super cool, looks cool, feels cool, puts you in a space that feels like a place for making music, but unless you have the extra money and space it makes no sense to go hard over soft. If I had the money I would surround myself with hardware even if I didn't use it just because I like being surrounded by it like being in a cockpit or something. I will say that for a beginner it is a lot easier to learn a piece of hardware because of it's limitations, but if you limit yourself on a piece of software and learn one section at a time, it can be just as easy as learning a limited piece of hardware. So I would say in the end it's really just a cost difference. You mention a time factor of booting and loading software, but for me, and I would expect a lot of people, I leave my computer on all the time, so other than the minute or so of loading a program there is no time issue of me going from sitting down to playing/recording. Thanks for a great video, I just subscribed!

[@Pintosonic]

Personally I have a hybrid setup. My hardware synths are all analog and any digital synth that I might want has to be a plugin. This does an excellent job at limiting the amount of gear in my studio and I don’t think that I’m making any compromise in the sound department. However working with hardware synths doesn’t always require to commit every thing to an audio track. There are some plugins that exist that can help the workflow when working with hardware synths. For example the Arturia Polybrute comes with a plugin that makes the polybrute appear like a VST within your daw. Basically the plugin remember the patch you are using plus all live edits you made, also let your daw record midi and automation data the only difference from a real VST is that the polybrute has to be connected and its audio routed through you audio interface. Even if you erase the patch from the synth memory, the next time you open the daw project, the plugin will send the patch you used plus all the edits you might have done. I have a similar plugin for my Korg minilogue XD but it’s made by a third party, not by Korg. So the workflow with modern hardware synths with presets is more troubles than with VSTs but not as much as having to commit everything to audio.

[@rishabhrawal19]

Hey, can you tell which VST is that? I own a Novation Summit and a plugin like that can make things very easy.

[@Pintosonic]

@@rishabhrawal19 I don’t own the novation summit and these plugins are synth specific. Search Novation Summit controller vst. There might be several companies that are making one for the Summit if Novation don’t already makes one. Here’s a link to a controller vst for the summit kzbin.info/www/bejne/eWOqkpevoJaBl5I . I do not necessarily recommend that one, there might be better and or less expensive ones that exist, I recommend you do your own research.

[@rishabhrawal19]

@@Pintosonic Thank you , I did a lot of research and the link you sent is the only Vst availability right now, but it lacks much of the things right now will wait for a better Vst for future.

[@TranceElevation]

How many istances of the Polubrute can you play at the same time with that plugin? Only one, this is why you need to print everything to audio.

[@Pintosonic]

@@TranceElevation The project can have as many instances as you want but only one can connect to the Polybrute at a time. So only one instance can play at a time. Remember that this plugin doesn’t produce sound, it only controls the Polybrute. So if your project has several instances, you have to convert the tracks to audio one by one if you want to hear them all at once. Remember that the Polybrute is a 6 voice analog synth, it’s not a digital multitimbral synth with 256 voices like we see nowadays.

[@Jimbo386000]

I didn’t buy my first hardware synth till 2019 and I had been producing since 2004. Started delving into software in 2010 and spending all my money. Then I just got tired of always feeling frustrated with not feeling inspired to sound design and play music and stuff so I bought a used Mother 32 and a DFAM as my first two synths. Now I have a completely different setup and I’m getting a hold of how I want to use my hardware synths. I currently own a Kodamo EssenceFM and am recieving a Hydrasynth desktop tomorrow in the mail. But my favorite part is, like you said being inspired. My second favorite is the resale value. I’ve definitely gotten bored of my software but just had to take another $2-300 hit, but when I get bored of my hardware I just sell it and buy something else with that money.

[@hjvarfjell]

Thanks for another interesting video. I have for a long time considered the hardware vs software "war" to be BS. Working in different avenues of the IT industry for decades I've lived through the Apple vs Microsoft war, The Linux vs Microsoft war, analog vs digital photography war. All of them totally useless discussions fueled by people's need to base their own shaky identities on something as shallow as the tools they prefer. Because at the end of the day that's what they are. Just tools. And our preferences differ for a lot of reasons. Thank goodness for that. The best tool is the one that you master and gets the job done. No matter what it may be. I've been in the audience listening to the amazing percussionist Marilyn Mazur create music magic on stage with nothing but a dried butternut squash and a stick. She created just as much magic with that simple instrument at that time as she did when I saw her playing with Jan Garbarek Group, using a twenty five thousand dollar percussion rig. Then too she stole the show. So I guess it's not about the instrument, it's how you use it. I personally prefer software to hardware. I have a tiny room for my studio, and even if I could cram in a stacked rack for hardware synths, if I really wanted to, it would make the room claustrophobic and kill my vibe. The cost of hardware synths would also kill my wallet. There's another reason, right there. So what I have is my old trusted Akai MPK88 MIDI controller and my plugins on my just upgraded pc. I am totally happy with it. The only hardware I'm adding at this point is an Akai midimix that I'm going to assign to macros on my synth and keyboard plugins. To get some of that tactile relationship with the instrument that you were talking about. It is kind of inexpensive and doesn't take up much real estate and I'm expecting to get a lot of fun and joy from playing around with it. But that's just me. I totally get that other people prefer other things. When it comes to the point of focusing and not getting overwhelmed and stunned by possibility overload going in favor of hardware I totally agree. When your world is limitless it can become hard to sort and focus on the right possibilities, and you get paralyzed. I've experienced that many times. I've heard it said that constraints are the clue to real creativity. In my work as an IT architect I've had it confirmed many times. Then again I am pretty sure it just comes down to my own inexperience and lack of self discipline. I hope that will get better as I gain skills and experience.

[@RodVonLongrod]

I like touching actual knobs, moving faders, and pushing buttons. I like my soft synths and use a MIDI keyboard controller but it's not the same as physical interaction with physical gear. It's nice to have both options. Find which way works best for you and get on with the business of making music.

[@matrix12x]

great video. I've recently started making patches on my hardware and then multi sampling it as a Logic Sampler instrument. I feel like its best of both worlds. The inspiration and sound of hardware with the ease of software.

[@adamgriffiths1703]

Same here. One of the cool things about doing this is playing chords on a patch that came from a mono synth that couldn’t do polyphony!

[@matrix12x]

@@adamgriffiths1703 yeah. I like making huge mono unison patches on my Prophet 600 and then sampling that to play in the sampler with polyphony.

[@everpuremusic]

About limitations: That is also possible in your DAW with your favourite plugins. :) I deliberately use Ableton Live Standard (not Suite) and only less than a handful of relatively simple synths. Yes, I could probably make it even simpler, but using a Juno and a Prophet 5/Pro-One emulation, plus some orchestral strings and one simple drum kit sample set is currently giving me a ton of mileage, while being able to focus on the songwriting and arranging. Would I love to use that Juno and Prophet in original hardware? Hell, yeah! Do I have the money and space for them? Nope. ;)

[@jeffevansmusic]

Nice video and very well articulated. I think hardware synths use a limited number of parameters or elements to make sounds that can be limitless in their making. Take your Peak for example or my Moog Voyager, yes they have a limited number of sources and options to make sounds, but one could spend thousands of hours exploring the huge range sounds that are possible from a hardware synth like this. Tens and hundreds of thousands of sound options. Only at what they do for sure but there is still a huge range of sound variables within a limited system such as this. Its good to get a lot of hardware on midi and sequencing at the same time too. You don't have to print anything at all for quite a long time in the composing phases. 8 or 10 hardware synths can make a wall of sound pretty easily and quickly. Being able to alter the parts so easily from the DAW is great working with hardware. Its the blending of hardware and software sonic signatures that opens up into some more complex options not heard before too. Old and new approaches can work seamlessly together to take us into new sound creation territory.

[@kristendawes6965]

This helped me because I play synth for my church, and we play such a variety of songs, I only care about live performances right now, but we play 5 different songs each week, and one week we might have a banjo and harmonica and the next week only me and an acoustic guitar and piano, sometimes there is an electric guitar. Software synths let me switch between and layer sounds in a more affordable and minimal setup. It's easier to switch sounds mid-song or bring layers in and out. Plus I can just bring a computer and midi cables to hook into the church keyboard instead of lugging a workstation synth or a trunk full of synths around to cover my lead, pad, and ambient needs.

[@guyperreault9213]

I think one of the biggest drawbacks of hardware synths is polyphony limitation. However, personally I'm really not inspired much when using vsts . I need the physical equipment to be inspired and develop new tracks.

[@macronencer]

Another couple of points about hardware: PRO: it won't suffer from bugs, make your computer crash, or become incompatible due to OS upgrades CON: the flip side of the above is (particularly with older synths) that it can develop faults and cost money to repair/maintain I worked a lot with plugins because I was writing hybrid orchestral/electronic and pure orchestral when I took a course in media music - but my ambition now is to move more out of the box, taking advantage of the synths I've amassed in my long history of playing in bands. Three of those keyboards don't work at the moment (see above!) but I still think it's worth doing, pretty much for all the reasons you gave in the video - especially the pure inspiration of the tactile interface.

[@josh78752]

One more benefit of hardware, even if it's DSP/virtual-based hardware that some people will call "a VST in a box", is that you are offloading that audio processing work from your DAW. As VSTs increase in their capabilities, the more processing power they demand from the same CPU that is also recording, playing back, processing effects, and all the other stuff the computer does in the background. The VSTs that I have that can sound as good to my ears as hardware can sometimes bring my computer's CPU to its knees when running within a DAW. I might be able to shut some other tracks and processing down long enough to print audio from the VST to a track, but hitting that wall and stopping to deal with it is a real buzz kill.

[@shieldyourselfmusic8567]

I like a mixture of both - I have an access virus TI which works hand in hand with omnisphere - I also just got pigments 3 which is mind blowing - I dont need anything else

[@thememaster7]

How do you go about choosing a synthesizer? No free demos lol.

[@YellowWalkman]

This is the classic argument I have with myself.

[@HOLLASOUNDS]

Laptop, 2 small sythersizor keyboards, 2 midi keyboards with drum pads and slidders, 4 guitar pedals and Abalten 11 and Reason 4. That's what I have right now. I pick up stuff used in flee markets or pawn shops or good will shops.

[@Datmermusicproduction]

Same reason I still DJ with 12" vinyl. It's that hands on mentality that makes it feel all the more real. Again a great video Cameron

[@AMBMusic]

Great video dude. I personally started with acoustic instruments back in the 90s and discovering trackers was like the biggest thing at the time. Then Sound Forge, then Acid, Logic, Cubase, etc. The amount of convenience the digital age brought to me was unparalleled-not to mention switching from vinyl bags to carrying a single USB stick. Along with all that, the digital age also brought to me unprecedented burn-out and lack of motivation after producing music professionally for 20 odd years. Very recently, (re)discovering the world of hardware synths, trackers (!), grooveboxes, and all sorts of devices and instruments has been the single most exciting and creativity-fueling experience. What a time to be alive 🚀

[@JanPrze]

Hardware is very helpful with my workflow. I'm a proficient keyboard player (I do this for a living), so having a hardware synth lets me very quickly dial in the sound that I want and makes me commit to it, which is really helpful because it prevents me from second guessing my sound choices 20h+ into the song. It also lets me have 10x the track count with the same buffor size because th sound generation (which is the most CPU demanding task) is done on the way in. Also with hardware i try to make the sound "sit in the mix" on the way in and I find that the songs tend to more or less mix themselves. I used to use a lot of software synths and they are great tools, they can sound objectively better or cooler on their own, but making a sound from scratch will always be faster on a hardware unit.

[@pocket1684]

When I started producing music, beats in 2001. I started w an mpc, a korg triton, a proteus synth by emu.I started w Pro tools 5.3. Pro tools had zero virtual instruments nor did logic...They were for recording. There was a charm to my set up. My mpc was souped up to have 8 outputs a big deal at the type and sympte time code. I would do sessions w people like Dave Pensado, We had to hook my mpc via sympte and then drop 8 tracks for each pass of the song. While it was complicated, and took forever just to get the drums into pro tools, it was very fun, creating tracks outside of pro tools using the mpc as a sequencer. However, in the last 5 years, I actually love the software world. I still own some hardware synths which i use but I"ve gone hard for software, maschine, arturia, etc...thanks for this video...

[@scottbitz5222]

Since I started my musical journey as a violinist in the 4th Grade, "hardware" is always my preferred way of doing things and though I've not collected that much hardware in terms of synths yet, I'm working on building this up and ensuring the my studio, once I build it in my basement, has plenty of space to handle a variety of different synths and my instruments (violins, bass guitars, a drumset, and an acoustic guitar) because that's what I want to make music with (including soft synths of course)

[@CorbenEdward]

Sometimes I use my Korg Prologue as a midi controller for VSTs lol. Sometimes I use my daw to control my Prologue. Sometimes they both even control me! Option paralysis is a beast. Use both and stay creative / happy with the process.

[@philipford6183]

I sold all my hardware a few years ago. I've fully-embraced the world of virtual synths. All I have now is an old Roland A-800Pro MIDI controller keyboard. I've never regretted selling the hardware (I have some amazing and inspirational VSTi synths) and my life is now far more practical. (I did the same with my book collection.)

[@lbat5276]

Yes to this! And avoid drawing midi - making mistakes as you play leads to all kinds of interesting creativity - half the songs I write get their bite and hook from a slipped finger or an unintended rhythm

[@CraigRodmellMusic]

You're right about the Wow factor. In my living room, there is an antique Bechstein 3/4 Grand Piano. It in itself is a jaw-dropping sight before you've even played a note. Now sure, it can't go anywhere, and it only does one thing. But there is no doubt about the inspirational value of such an instrument. And before anyone asks, it was my Father's, and he left it to me in his will. I would add another advantage to Hardware synths: practicality. If you're a gigging musician, or planning to be one, hardware is basically the way you'll have to go. You're going to want to just chuck two keyboards and your amplification gear in the back of the station wagon; and at the venue, you just chuck them on the stand, plug them in, and you're ready to go. It's not practical for most musicians to do that with a software set-up, and greatly increases the amount of rigamarole, paraphernalia, and number of things that can go wrong. Plus you still have to have a hardware keyboard of some sort in order to play anything. I myself use a Roland RD-2000 Stage Piano, which also doubles as a very capable MIDI Master Keyboard; and a Roland JV-80 serves as my second keyboard for live work. I also have four other hardware modules (rack mounted keyboardless hardware). That said, there are things that that hardware is simply not good at, such as emulating an orchestra. That's something I wouldn't do on stage with a band, but would like to do in my music room at home. The hardware I own isn't wonderful at emulating older analogue gear, either. That's where software synths will come in. I'm only just getting started in the world of Software Synthesis. I wouldn't be without the hardware I have built up over the years. It will continue to be used in my music room along with software synths. Bottom line, I don't think either will be replacing the other any time soon. There is places for both, and pros and cons associated with both. And besides, the best instruments for making music are always the ones that you have, not the ones you WISH you had.

[@lokologico]

I love hardware gear with a vst that controls it, like the Polybrute and Polybrute connect.... LOVE IT!!! playing Devil's advocate, I know studios that focus more on MIDI controllers that actual synth's, gear,etc,... how would this compare then?

[@katiebarber407]

the way I see it / understand it, anything that a hardware synth or effect can do, can be emulated in software. I don't see any case where this isn't true

[@geluix69]

I have a Midas 48 channel mixer and would never depart with it, simply for ease and speed I can tweak sound. yes its huge and heavy . But its warmth and its tactile satisfaction are wonderful.

[@smooth7689]

I think that with software, it’s very easy to buy the next shiny thing, click a couple of buttons and it’s yours. With hardware it’s an expensive lump, it forces you to use it. With software it can be put aside and easily forgotten. Totally agree with the limitations argument, the times when I’ve had the best outcomes, in most areas of life, is when I’ve had shackles or limited options to solve a problem. The Paradox of Choice.

[@mimikova390]

I have a hybrid system that uses soft and hardware. In my experience, they compliment each other. Same goes for controllers. Sometimes I program drums in my beatstep pro. sometime I finger drum them other times I use the grid. sometimes I use tiny LFO in reason to modulate hardware like my microfreak. My point is my hybrid systems allows me to create differently. So when I play a beat on my octapad it has a different feel than when I finger drum or program with a step sequencer. That beep on my eurorack feels and is different than the some sound on some v collection synth. A listener my never notice. But the experience is real to me. For me it is not either or it is both and blended. I love what you do, cam. Be well.

[@briandavidgregory]

After a year, I think this video is still relevant. That said, I really appreciate that you placed the hardware synths toward the camera so I can read the names.

[@briandavidgregory]

I can't "read" the Waldorf Blofeld, but I SEE YOU THERE and I love it.

[@SpeccyMan]

I got Arturia Pigments for the princely sum of 69 Euros. 😁 One of the benefits of owning hardware (my Arturia Minibrute 2S) is you sometimes get crossgrade coupons towards the cost of other things. I got the V collection for 399 Euros (100 off in the sale plus another 100 off via a coupon) and, get this, I got Arturia's effects collection for 99 Euros - that is all 26 plugins for the price of 1 of them! Now onto one of my ultimate fave synth plugins. Can you imagine how much a hardware version of Dune 3 would cost? I got it for £129. My music space is pretty small so I do not have the space for lots of hardware. Having said that I did just recently acquire a second hand Novation Bass Station II (loving that thing!) and I have plans to add an Arturia Microfreak and possibly (if I can ever find a second hand one at an affordable price) a Novation Peak. As for the thorny subject of hardware versus software - I use both and I love both. Dune 3 is about the most bloody awesome thing ever in the history of everything that makes sound, lol, and Pigments is a very close second place. Both hardware and software have their place but a hobbyist like me benefits greatly from the vast array of easily affordable plugins available. Yes Vital is free but I paid for it because it is way cheaper than Serum. 😁

[@Quimmoo]

yeah, limitations is the best creative tool I've ever used. I love software, I mix in the box in 100% cases, because I don't have any outboard mixing hardware, but I still choose hardware synths any day of the week. I have some wonderful soft synths - Arturia V Collection, Pigments, UAD Minimoog and PolyMAX, absolutely amazing software, but I noticed that overcoming hardware limitations and experimentation are a major parts of my creative method. Software get's me where I wanna go really, really fast, but when I go slowly I'm more excited with the results, and also have more joy out of the process. I still use software synths, but I've reduced the amount of plugins I have to the most used and most unusual/quirky. I also really like to resample my own stuff, so most of the time I bounce soft synths to audio anyway.

[@emotionblur7214]

Very well put, and thank you for not jumping into the big "analog vs digital" debate :) I personally have become a software only musician; I sold my Virus and Miniak few months ago, for I almost never used them and I could replace them with my software with all the advantages that you mentioned, while keeping the sound quality I wanted. They both required too much menu diving (Miniak Especially) taking away the feeling that makes the hardware sound design shine. Nevertheless, I got your points about hardware and creativity. One hardware advantage I could see is the physicality of the controller itself - see the Hydra poly aftertouch/ribbon, or the upcoming Osmose. In theory this would be only a "hardware controller" topic but as a matter of fact at the moment such controller-only devices :) I might get the Osmose when it's released.

[@We.Are.Lockhart]

Sold my Arturia V Collection 6 due to overkill of options... got about 25% of the invested money back... spent way more for a used Nord Wave... am very happy.

[@jonnyhead]

Option paralysis, exactly why I don't DAW limitations are the best way. Exactly what you said as usual, I just need to find some noise reduction software for final mixdowns. 🎧🎹🎹💥

[@Weissman111]

I've reached the stage where I don't have (a) the money or (b) the space for hardware (except my Impulse 61). I now have more than 40 VSTs covering percussion through to synths. Native Instruments and Arturia make great plugins but Omnisphere is probably the best of the bunch. The one thing I do miss with harware is physical controls.

[@Dave-hp4vh]

IMO, best starter analogue synth is the Korg Minilogue, it's easy to find under $400, 4 voice polyphonic, sounds amazing, and has dedicated nobs for every major function, plus it's highly portable and standalone so it's easy to take along to a gig or jam. Well laid out too, so you can learn the fundamentals like filters and oscillators which you can carry over to bigger more expansive synths. I have tons of synths now including a fantastic $2000 Matrixbrute, but my Minilogue is always my go-to.

[@fretnoize]

I use software in 99% of my contract work, the ease of use and recall of settings, etc. really make it invaluable for doing music as work. But I still love playing around with hardware for my personal stuff. Also thanks for saying your wiring off camera is a mess... so many youtubers have such pristine gear setups, meanwhile I'm surrounded by clutter like gear, tools, papers, etc... haha...

[@Rightly_Divided]

Is it possible to make Future Bass with a hardware synth? Such as Waldorf Iridium and Fantom 6

[@synthseeker]

Hey! Your Peak still has the screen-protector on it. (TRIGGERED! MUST...PULL...)

[@SongOfItself]

there's resale value right there :-)

[@PeanutButterAM]

😂

[@alchemistrpm82]

@@SongOfItself Exactly. I usually leave mine on at least until it starts to bother me (or peel)

[@juschu85]

I can really relate to that point that you can just turn on your synths, fiddle around for a few minutes, and then go back to doing something else. For a few years, I used Linux as my main OS while Bitwig was not yet a thing. In that time I spent far less time making music. While my computer was running most of the time anyway, I still would have to reboot into Windows to start Ableton. So going through a lot of technical difficulties to make something creative, even if it's just (re)booting a computer, can really stop you from doing it in the first place. However, as you mentioned, there are also a lot of technical difficulties when it comes to doing all the routing for your synths. And you are facing those technical difficulties while you actually want to work on some songs and are not just fiddling around between breakfast and leaving for work. And I prefer having those technical difficulties when it's not really that important over having them when I actually want to make something. Also, while ignoring that today my computer still runs most of the time 😐, back when I was using Linux, there was an HDD in my computer. Today my computer has an NVMe SSD and booting and starting Ableton only takes a few seconds.

[@lineriderrulz]

When he was talking about booting up the DAW after talking about walking the dog, I kept thinking he was going to say "boot up the dog" Edit: I guess DAW sounds kind of like DAWG

[@SolairNova]

Software synths are magic ! And this is an old timer who says that ! Software is so inspiring… There is no hardware synth like Omnisphere which is a piece of beauty and magic !

[@TimeLimey]

Agreed. Omnisphere is the hardware killer.

[@FLH3official]

Thank you for this interesting and sensible advice. One of the advantage, for me, to work in the box with softwares is the possibility to recall projects and work flawessly on differents compositions, sometime let some of them slowly stewing in the HD, unless you bounce to audio the external synths or recall theirs presets with a stream of sysex which is an additional work. With software it's command S and presto you'll find this project in 2 weeks at the same stage you've left it. But yes, I love my old physical synths!

[@AndrewSouthworth]

Totally agree! But who are all these producers who keep their computer off and their DAW closed? I keep my computer on 24/7 with Ableton ready to roll, and I already spend upwards of 16 hours a day at my desk with the whole work from home situation going on haha.

[@jennoscura2381]

I like hardware. I have some entry level rompler keyboards. It's nice to just be able to turn it on and play. I have two MIDI romplers hooked up in my studio. A Yamaha and a RadioShack Concertmate. In my living room I have another RadioShack keyboard that just has bult in speakers. I watch KZbin on my TV. It's nice to watch lesson videos and have a keyboard handy. I even have a mini keyboard in my bathroom. LOL Honestly I think a 61 key MIDI rompler isn't a bad choice for a beginner. Along with a midi controller to use with soft synths. A MIDI to USB for the rompler isn't a bad idea. It's fun to download MIDI files and send them to the rompler. Something like a RadioShack Concertmate isn't very expensive. Most of the Concertmates were made by Casio. Older Casios are good entry level keyboards. I started with a MIDI controller and software. I then got into romplers. And now into hardware synths.

[@quantumphlo3541]

I just recently bought my first hardware synth the Arturia MicroFreak and I find it inspires me to play around squeezing everything out of each patch within the synths architecture. But I also use it as an expressive MIDI controller and send/receive MIDI through the sequencer/arp while messing with the randomness controls. Now I can see how collecting hardware could become an expensive hobby even though they are technically not needed/limited sonically compared to their software counterparts.

[@rebeccaschade3987]

To me, there feels like a pretty hard limit for how much I'm willing to pay for a plugin. It doesn't so much relate to the feature set either. When I see a plugin that costs like $299 or something like that, it so quickly reminds me that for that kind of money, I can get a second hand hardware synth. And with that hardware synth, you actually have a tangible piece of gear, not just...well, software. The latest plugin I bought was the Cherry Audio GX-80, for the simple reason that I know I will never be able to afford a Yamaha CS-80, and combined with the very affordable price. But looking at something like price of Korg plugins... I would really love to have a Wavestation, and the difference in price between a lucky bargain on a real piece of vintage hardware vs. the price of the plugin, I just can't make myself pay the price for the plugin. So yeah, while I accept that "plugins are cheaper", I also feel like there's some real world added value to hardware that makes it easier to dish out money for. Of course, I genuinely love hardware though, so I'm super biased.

[@fakshen1973]

I'm just getting started on this video and want to say thanks in advance for making it. I know you put a lot of thought into your videos, buckaroo, and it's good to hear the opinion of someone who uses them to make a living. It's like asking a carpenter his opinion about using a nailgun versus using a hammer in terms of practical advice.

[@The_Master_Brain]

My reason to change from VST to Hardware was that VSTs need too much CPU Power. So i decided to buy my first analog synth, the second synth..., and so on. In fact, they mostly sounding the same, but it opens new dimensions and complexity to the sounds. If you buy an CPU for 700 Euros, you lose alot of Money, bcse after 2 years, the cpu is too slow again. Hardware Synths always have the same "processing power", here it does not matter how old are the device. In the end, you have to combine everything. So i use hardware synths and VST effects. I think thats a way to life with.

[@Sentientfx1]

With software only, you're gonna need a pretty powerful computer. I use a mix but it generally tends to be computer for processing the sounds that comes from a few choice synths, Peak, Blo, Matrixbrute, SE-02, Wavestate.. One day I'll add a Polybrute..:-)

[@yesthatsam]

Halfway through and already having a million question ^^ but main one is regarding firing up your hardware but not the computer : how is your setup rigged in order to do that ? My machines are all going to my audio interface so I have to fire up my computer to hear anything… I would really like to have your insights - as well as from the community - about how to setup a home studio in the most flexible way. Keep wildly pushing buttons y’all :)

[@HIFI1965]

Get a mixer with direct outs and at least two subgroups. Patch direct outs and or subgroups into audio interface. A coupla patch bays can make a really flexible rig, as well.

[@yesthatsam]

@@HIFI1965 Thanks a lot for your suggestion! But then, how do i get my DAW out ? As well in the mixer ? When recording the synth with the DAW i would have it output in the audio interface and in the DAW (that would as well get out in the audio interface). Wouldn’t that make sort of a loop ?

[@HIFI1965]

@@yesthatsam your outs from your AI go into your mixer as well. There are lots of ways to rig this. Another option is to split all the inputs with a half normal patch bay, and the route one set to your ai and one to a mixer. Another option is to get a mixer that is also an ai, like the tascam model 12 or 16. In the end that may be the cheapest and simplest.

[@TimeLimey]

I reckon you need one monster hardware synth in your studio just to have and learn.

[@unduloid]

Cable management is the main reason I don't use a lot of hardware. By the time I finally find the right cables and plug them in the right inputs I lost my inspiration... and then there's the times where I almost broke my bones stumbling over a cable I failed to tuck away properly. But yeah, staring at a screen sucks. Now excuse me while I finish this SuperCollider patch I'm working on.

[@FrankyGun]

Call me oldschool, but I simply love hardware! I love the sheer sight of my synths, beat boxes, mixer and pedals. I love the electronic smell of my gear and the feel of “reaity” when pushing, sliding, turning buttons and slighters, pushing knobs and playing on a real, proper keybed. Plugins and VSTs feel “not real”, and staring at a monitor all day is something I have to do in my office all day. On top of all, hardware is a true investment, and the sounds of real synths are undoubtedly better. Keep up the great work! Love and light from Khao Lak, Thailand 🇹🇭 ☀️🏖❤️

[@thememaster7]

The presets are better on hardware?

[@thelanavishnuorchestra]

Definitely agree with your points. MIDI controller wise -- just got an Alesis VI61 and it's a really nice keyboard and lots of knobs and buttons for sending CC. I use VCV and Bitwig, plus my wife has been building me modules for a modular synth. VCV and Bitwig are great for working with hardware. I'm not a beginner, but it is a hobby.

[@SongOfItself]

Another epic intro from Cameron, please don't ever stop making them! (and omg, how can that piece of cable cost more than twice as much as, idk, HydraSynth?!)

[@andewprod]

I just began to get my first semimodular synths (Behringer Crave and Arturia Minibrute 2s) and a few eurorack modules and I really get inspired for music that way. The big downside is the recording and layering, its a lot more timeconsuming than just opening Serum. But it also saves a lot of my tiny RAM and also, I just really like that analog sound and tweaking real knobs. Im into music for like 5 years now tho and I made that decision a few months ago, before that I would use tons on plugins.. but if you start out as Venus said, get yourself a decent MIDI cotroller (you will need it also with hardware synths anyways) and learn your soft synths! Greetings!

[@Recloh]

stepping back from Ableton plus plugins plus lots of hardware to AUM on iPad plus few hardware boxes

[@cal_blac]

Subscribed! What do you think of using midi to control your synths so you can still edit the patch after recording something? I like doing it that way but I also sorta like what you said about committing to an idea and how that benefits your workflow.

[@BrentODell]

I've gone back and forth, but I have a (relatively) modest hardware setup now that I really enjoy working with. I also have FL Studio and Reaper, for times when I want the power and flexibility of software. As for cost, being a photography hobbyist, I have a lens that cost me over $2k, so things like my MPC Live 2 seem almost budget friendly by comparison.

[@supgloserv]

I am a hardware guy, but want access to the 'limitlessness' of software. To have a beefed up laptop, with dozens of thousands of sounds seems almost heavenly. I'll probably do both.

[@davidpetersonharvey]

Btw, sometimes I bit up the synth because I want to play but don't want to go out into the studio. Those little sessions get interesting in a different way. You're right, advantages to both. Resale, yeah, I paid $250 for my Juno 60 in 1992. I think I'll get my investment back. ;-)

[@robinmallet2315]

So glad I found your channel, awesome videos and great information and easy to follow. I have maschine studio and some hardware synths , for me it’s good to own both as you can jam a lot easier on hardware than you can on software but both have there place. Only problem with software is the cost of a capable computer witch isn’t cheap. Have you any tips to help with audio cut outs as mine does it all the time? Thanks Venus Theory ✌️

[@helisoma]

i've been working with software on and off for years but only recently got into hardware Jun-06A (too much fun to tweak) then Behringer model D then a Korg Prophecy then a Waldorf Rocket and then a Juno-6 😂....i totally agree that hardware invites you to experiment otherwise it's just the DAW workflow...i think it's like the difference between photography with film vs digital

[@BrentODell]

For the most part, hardware doesn't crash, so there's that. My computer died and it's going to be about two weeks to get a replacement back up and running. Of course, my MPC Live 2(the brains of my 'daw-less' setup) is ALSO malfunctioning, so... Good news it that I'll have my new MPC replaced and set up in under 24 hours.

[@dodgingrain3695]

I think the issue with point #2 isn't necessarily a strength of hardware, its easy enough with hardware to record midi instead of audio and continue to tweak forever...

[@fredbarnes196]

hardware is like a band. Once each synth is dialed into a sound and they all sound good together i want to leave them and do a few tracks with that set up. Template in the daw, everything set up and you can just come back and everything is ready to go

[@kimotamusic5532]

Hi, i dont watch the video complete at the Moment, but Software vs Hardware... at the end the Listener isnt able to hear the difference in the Mix. When My girlfriend Listen to My music, she doesnt care, how its made. She says it sounds great... but i think she dont Want to Tell Me the truth

[@Brutuscomedy]

One reason is analog sounds better (imo). I did a short song recently heavily relying on midi and plugins and the high end just isn't as pleasant and smooth as it would be analog. The oscillation isn't as, well, smooth and clean as I wish it to be. As a result, I may purchase a hardware unit. Bouncing to tape helped and using Soothe 2 might as well (if I owned it), but the real deal would solve the dilemma outright.

[@jamesstonehouse3448]

I'm on some synthwave FB groups where most posts are 'what preset do I use for that sound?' I love finding sounds in my synths. Even a volca can just give you immediacy fromm wubwub to searing leads

[@FullFledged2010]

You're forgetting the most important thing: Buttons,knobs and blinky little lights 😏

[@steveditore3165]

YEAH blinky lights. But also the smell! The smell of warm electronics as you first walk into the music store, or your studio! Transporting!

[@shadynook86]

FUCK! As soon as I was getting settled with only needing software, you reminded me of the only solid reason to even be into synthesizers 😭

[@tomp1585]

things that may have been overlooked. I believe the hardware fx processors from pedals, eventide and so forth are much better than soft versions. On all my tracks with using hardware fx the end results are always much better than what I get from soft versions and I have a bunch of both. For example I have yet to find any soft phaser that can hold a candle to some of the hardware versions. Also you didn't mention modular, the possibilities here are much more than softsynths. I have a ton of softsynths but I'm moving away from them and I feel the results of my music show a vast improvement, as your points about working with hardware are quite valid. But I definitely agree hardware slows the work process, I would spend entire days patching up modular until I'm satisfied and even then it may turn out that it didn't work out after all but I'll record it anyway for possible future use. Then I have to leave it patched until I finish that project, then unpatch and what I just finished is lost forever except for the recordings in pro tools. In the past with softsynths I would get ideas of a specific type of sound I was after and I was seldom satisfied with the results from softsynths. With modular I look at my setup and see why not add some wavefolding here or ring mod there, it's as easy as plugging in. Sound design with modular is far above what can be done with softsynths, yes they have many options but especially when it comes to modulation, such as complex lfos that aren't available in any softsynth. I love to explore the many options available with modular. Many of the filters in modular are quite specialized or unique and not available in softsynths. There are many instruments that are great for adding variety to songs, these are desktop devices whose main function is sound design. Error Instruments comes to mind but there are many other like JMT synths and many boutique brands. With these you can introduce sounds never heard or used by anyone else. Last I look there aren't any circuit bent speak and spells available in soft versions. And the new E520 hyperion from Synthesis Technology, there's nothing that comes close to what this can do in a soft version.

[@thememaster7]

How do you go about choosing one?

[@tomp1585]

@@thememaster7 that's the other problem, I watch as many reviews as I can, and based on that and reading details from websites I make a decision. But as a result my house has turned into an absolute mess of synths, the office is nearly wall to wall modular, I'm absorbing my daughter's room as she moves out as a satellite studio, I put shelving up in the basement utility room to store synth, pedals, drum machines, you name it. And now I'm moving in a direction where I really prefer old synths with raw sounds, so most of the nice pretty new synths go untouched now, whereas with plugins these just take up space on the hard drive. Be very careful that's all I can say. If you want to get into modular subscribe to videos by divkid, and Molten Music technology does great videos for beginners, he did a whole series on modular for beginners and when he reviews modules he makes it easy to understand. Loopop does very good synth reviews for new releases, there are others. Alex Bell does great videos on vintage synths, and Hainbach on the obscure and bizarre instruments. And Perfect Circuit is great for new gear. WIth soft synths and all the loop providers it can be easy to string together some basic repetitive music but I like actually doing songs with structure and for this I find hardware is the way for me, sometimes I'll supplement with a soft synth and I use plugins for mixing purposes, like fab filter q3 my go to.

[@thememaster7]

@@tomp1585 Thanks!

[@dani_raudvik]

Definitely prefer hardware just because of my need for the immediate tactile response. Plug-ins just don‘t work well with what my brain needs in order to get from idea to finished set of sounds. Software does cool stuff though, no question about it

[@alvaromedinagarcia]

I think the limitations you mention in 17:15 is a "pro", as having the option to go back can creep a project. Not being able to come back can actually make a project or a track to progress instead of being retouched ad nauseam.

[@superdownwards]

You could just freeze and flatten audio from software synths too though

[@touchclarity]

Ironically, back in the 80's I was all hardware Synths with a trusty PortaStudio and wem Copycat (it's all I seemed to need at the time)..... Roll on a few decades, and I'm now trying to get back into synths, and my BIGGEST stumbling block.............................. the DAW!.............. I just want to lay down tracks, but by the time I've figured out how to do 'stuff' in the DAW .... the moment has passed... Sticking with it, but it's still frustrating as hell ...

[@А.С-е7р]

Could you tell me, what exactly the things are exclusive to hardware, what computers can't do? I really tried hard to imagine but I can't find any feature unavailable for software nowadays

[@lokologico]

It is all how you perceive and the physicality of hardware is just much more rewarding. I have say that using midi controllers to control vst's is a good approach to give a hardware'ish feel and vibe to your computer software.

[@joegrant413]

Awesome comparison. IMO, muscle memory is real. And the 20-second rule for just wanting to grab a guitar or banging some keys for fun is real. I also loathe getting on a computer after working all day on one. So I favor hardware for the human reasons. But will still use software for all the reasons you described. Last thing -- I wish more platforms made it easier for software and hardware synths to get along. I don't have Omnisphere, but I really like that it has a list of hardware synths that are supposed to integrate well with it. Anyway, thanks again.

[@StratsRUs]

It reminds me of guitar tube amps versus solid state/modelling amps. As fascinating as that is....your voice is the perfect hybrid of human and AI. Cool video.Thsnks

[@kadiummusic]

I was fully on the hardware side of the discussion UNTIL I started getting addicted to Cherry Audio and their wonderful soft synths, and just to make it worse I've also just picked up KV331 Audio's Synthmaster 2 for £30! Now spending 2, 3 or £4000 on a quality synth doesn't seem so appealing. 😎

[@ericmaher4756]

Hardware often snubbed my wallet, but software has always been a kind friend.

[@ADCar]

When used enough, hardware often becomes an extension of the user. I've never had this happen with software.