“Why Modern Digital Synthesis Is More Analog Than Analog” - Mark Barton

[@HAntonRiehl]

One aspect of this conversation I didn’t hear enough about is how spending time with a single fixed system allows you to learn an instrument in depth. The ability to add and switch filters infinitely is useful if you understand the synthesis concepts, but when you are learning, can become overwhelming and potentially disruptive to the flow. There are so many times I see people learning techniques by moving to a physical instrument, then moving back to the digital one, they have a new attitude for usage in the digital realm.

[@d3maccus]

Yea, and while you can force yourself to work within limitations in digital...it will never happen. And that is a great point...the only reason this guy can do "anything" he can imagine in the digital realm is because he has mastered concepts over decades of spending time with separate machines.

[@tt9660]

This so much. My first synth was a digital, and after 3 years I didn't know how to do anything much besides selecting presets. Then I bought a vintage Micromoog and I learned more about synthesis in 20 minutes sitting in front of this very basic 1 VCO, 1VCF synth than i had learned in years on the digital with it's everything-buried-behind-menus-on-a-tiny-LCD-screen interface. (For reference this was back in the late '90s/early 2000s)

[@d3maccus]

@@tt9660 yess! Me too with a grandmother-. No menus… just open canvas with basic parameters u must learn and master - the physics rules if synthesis… adsr , gate, filter , osc, waveform….etc

[@EbonyPope]

But how do you play them? Guitar player here just clicked randomly on this video? Do you just program them or do you have physical keys? Because if it is the former it isn't you making music but just programming like techno music.

[@tt9660]

@@EbonyPope You can use a midi keyboard controller, or in the case of analog synths with no keyboard and no midi, you can use a CV/Gate-enabled keyboard(this is how the original modulars were played). A significant amount of hardware synths don't have built-in keyboards these days to save on space and cost.

[@LoveMeBack]

I started in the box. All the options killed my creativity. Slowly my gear is growing and found being away from the screen, tactility etc. Is so refreshing and inspiring. Haven’t bought a plug-in instrument the last two years.

[@electrowayne2918]

Similar path for the past 8 years .. wouldn’t sell the real stuff for anything. Constantly being attached to the mouse killed all my creativity. A think a mix is good. But I definitely don’t buy plugins anymore. Not a fan of the “ you will own nothing.. and like it “ mentality

[@jocee2257]

keep lying to yourself in order to justify yourself buying new gear you won't use 😂

[@synthshoot1026]

Nice but that’s the difference between gear and plugins. It’s not the difference between digital and analog. You can still buy digital gear if you don’t like to be in the box.

[@TotallyNuss]

Here here!

[@juliansvidal]

@@jocee2257if you buy gear and don’t use it, it’s YOUR fault

[@Meitao23]

I love this conversation. So respectful. I love how you both give each other room to reason and listen.

[@smalltown2223]

Yes it is.

[@heliotron8042]

it's really nice to see that good friends can still do that in this days and age where bubbles are more like walls

[@natdenchfield8061]

Err ... Yes respectful, but one listened and gave too much room, whilst the other went off on their brain farts, rambling, guiding the conversation around to what *they* thought the discussion was about .. Even the title across thumbnail COMPLETELY misunderstands the very specific point the guest was making.

[@Anthony_D_333]

This is the best analogue vs digital discussion Ive ever heard in my life. Tons of respect to both of you for not arguing over each other

[@Midi-olo-gist6758]

The best video info/debate ever. Finally, two people know what their talking about and bringing the conversation to a definitive end with me. I love my analog gear along with my digital synthesizers. So now I was right building on both and not selling anything. I love the interview and you two geniuses 😊. Thanks for everything.

[@d3maccus]

"so now I was right" lol -- yes, the "best interview ever" now confirms this -- the debate is over. hahah I love the enthusiasm.

[@dxfifa]

The best compromise is certainly digital synths with a large controller that fits where you would want it, that's set up so you can use it quickly like the plugin interface with mouse, but have real time control

[@shaft9000]

There is no "finally" about it, though. This same convo about the exact same concerns has been going on since the invention of digital audio in the 1960s. It's development via VCR technology was quite remarkable, and well worth learning a lot more about . The extent to which musicians ares still mystified by "analog vs digital' talk is humorously absurd. e.g. the simple consequence of bit depth is concerning your dynamic range vs noise floor, and has nothing to do with "higher resolution sound", aliasing, continuous signals or higher detail. A lot of this convo is about workflow, UI and input limitations of older gear ("it drifts...no recall!" etc). It has nothing to do with the consequences of sound generation and recording of analog vs digital conversion.

[@shimmyfix9315]

the Minimoog is not the most expressive synth? Bernie Worrell would disagree.

[@simex909]

The interviewer doesn't even know what "expression" means in the context of instruments. He thinks it's some subjective quality like the general definition, and not the ability to control dynamics, timbre, and articulation of a musical instrument. Then he talks about analog synths having limitations that lead to creativity as an advantage over digital, as if there aren't digital synths with the exact same limitations. He's talking to a guy who makes VSTs with the same architecture as analog synths. Did he even try the VSTs? Does he know they're clones? What is he even talking about with the limitations thing? I'm not even sure he understands the difference between a digital synth and a VST since most of his problems with "digital" synths only apply to VSTs, and not physical digital synths which have physical knobs you can turn. Does he think "analog" means physical? This is the worst interview I've ever seen about synthesizers. I've never seen someone so clueless present themselves with such authority. The guy that was being interviewed was being extremely polite by not questioning him about his lack of knowledge on the subject.

[@stevehofer3482]

What I love about your interviews, Anthony is the level of respect snd attentiveness that you give your guests. You are a dedicated teacher snd student.

[@TheMirolab]

It can't be ONLY about the sound. You need to be inspired to use an instrument. I am inspired to touch & play with my analog synths, but then more often, I use digital plug-ins for many sounds because of the convenience, automation, and recall ability. So I have both, and I like both for different reasons.

[@tjandhuri]

A good midi controller literally solves this problem

[@jordan3636]

it should be about the sound. just because you use tools to make your work easier as a musical artist, those tools being easier to use or taking less work than setting up a moog to record, does not improve the quality of work. it might improve your efficiency as an artist, but not something that is going to matter to the listener, besides maybe more frequent realeases, but more =/= good. I think having analog gear over digital gear does offer a potential slight improvement in quality, but it can really only offer a minor improvment over basic musicality, compared to someone with the same musical ability without some kind of analog instrument. I think there are many paradigms of electronic music that are not explored. The keyboard/daw music paradigm is honestly not that musically expressive and will and probably never can be expressive, and that's not compared to other electronic instruments, that is compared to all instruments and music making abilities.

[@donartyone3258]

True. But peep this, the Air Juno in the MPC is implemented so well and sounds so good, I stopped saving for an analog unit. It’s pretty inspiring the way it’s designed in the box.

[@jorgepeterbarton]

True, but that's more of a hard vs soft debate. I have a digital sampling keyboard and effects pedals that are much better too use. Limited but they are good.. I have mechanical and electro-mechanical instruments which I certainly wouldn't get rid of. But analogue, I don't have a lot of analogue, mainly distortion pedals and amplifiers, it rarely gets beyond that much. Would it matter if a delay pedal was digital or bucket brigade, my digital one is a drum emulation so it sounds more analogue than the analogue one.

[@mattlockwood7674]

@@donartyone3258what

[@Doctormix]

Please don't sell your synthesizers Anthony!!

[@KickzNBeatz]

Seriously😂 DON'T DO IT Anthony!!!

[@meilstone]

I wonder what you would charge for the Minimoog that was used on the Thriller album? Like 100k? 😂

[@Hoptronics]

Ok Boomer . Lol .

[@RayyMusik]

Pleeease *listen* to that other great Italian, Anthony!

[@dalek604]

What if hr sells them to you?

[@mattsadventureswithart5764]

What a fab conversation, with neither of you trying to dominate; each listening to the other and giving thoughtful responses. Bravo.

[@pauliedibbs9028]

I’ve watched the whole growth of digital synthesizers and it’s utterly insane where we are at today… great video!

[@maccagrabme]

I would imagine most pro musicians back in the 80s would have immediately given up on their analogs if somehow they came across a teleported modern day laptop full of emulation plugins, especially with the conveniences of the modern day DAW with high quality recording, almost endless tracks and high quality effects, they wouldnt believe it. Just look at what happened when the DX7 came along.

[@pendulumdistinction2494]

Mark Barton is the real deal. At the end of the day, it's all about what the artist can demonstrate from their soul. It may not connect with everyone, but Life will determine the rest. Great conversation. Thank you for sharing.

[@shaft9000]

His ZeroOscillator has been one of if not ~the~ undisputed heavyweight analog "monster oscillator" for almost two decades. Unison ZO w/ a 2600 is perhaps the fattest sound I can make, or have heard anyone make since Howarth's bass patch for _Assault On Precinct 13._ I have a pretty extensive Cynthia-powered (modcan A) system; seven 6-packs fully packed. Wild yet purposefully-implemented stuff...like Serge and various odds and ends integrated with both Polyfusion and Wiard sensibilities.

[@pendulumdistinction2494]

Looking forward to hearing your art.@@shaft9000

[@DeadManWalking4574]

@@shaft9000 His Cynthias zero osc is a utter pain in the arse to calibrate and get stable, million of trimmers its ludicrous.And it cost a fortune.

[@linusblomberg6166]

I recently did an A/B test between a vintage Mono/Poly and Korg’s own emulation. While I`m sure the plugin accuratly emulated the circuits, the original had so much more character in all of its humming, hissing, and general inaccuracies! Having said that, to me it is much more about the inspiration and tactility (is that a word?) of the real hardware, than it is about the actual sound.

[@V-Pee]

sorry, but digital can add hiss and humm emulation

[@tonewreck1]

I recently did a comparison of my Mono/Poly with the behringer and there was a huge difference. The owner of the behringer readily admitted it too. It does sound alike but it is like comparing a photo and the real person. It is no t real i t has no depth and life.

[@SPAZZOID100]

@@V-Peenot the same.

[@ottokraut]

Sure, but Korg was barely trying with that plugin emulation, and it came out 16 years ago. Where you using it at 64 bit floating point? Are you aware of Korg plugin's aliasing and lack of oversampling? You were A/B testing between a vintage analog Goliath against a half-baked digital baby in diapers. You are right in that humming, hissing and general inaccuracies from signal degradation are more pleasant to the human ear than clean, precise, sterile signals. But with today's state of digital audio you can actually replicate that pleasing warmth even better than the real thing. You are also right in that tactility is as important as the sound qualities, but that is also a lost battle for vintage gear nerds, as there are already controllers coming out with even more tactile manipulation possibilities through analog circuits and motorised knobs, faders and buttons.

[@thepanicroommastering2062]

@poorhigiene what’s the Point of emulating Noise & Hiss if you can get it naturally and free from an good old Synth ?😅

[@kerzwhile]

This is an incredible conversation I have always had with customers and clients being on the keyboard/electronic instrument retail end for over 30 years now. I love this honest, deep and true argument to both sides!! ❤ excellent content!!❤

[@horowizard]

Of course Mark Barton would say something like that. He develops the code for all those soft synths. I could never sell any one of my instruments. Once I have played it, a bond is formed and it can never be broken.

[@MrDudumassa]

I tought the same thing hahaha that prós and cons list whatafukkk

[@Georgehurd]

Really solid, intelligent, reasonable discussion on a topic that definitely needs more addressing. Well done.

[@PatternRecognitionMusic]

This is a discussion that could easily extend beyond synthesis. Twenty years ago, Line 6 was trying to sell us the dream of modelling guitar processors. We all ran out and bought a Pod, and it sounded okay but it wasn't going to take the place of our amps and cabs. Today, you have Fractal Audio Axe FX, Neural Quad Cortex, Line 6 Helix, Kemper Profiler and more, and they are truly amazing. The technology has come of age and the dream is now a tangible reality. My 6505+ sits in the corner of my studio, gathering dust while I use my Axe FX III because it sounds more like my amp than my amp ever did. Ironically, while I've used my share of soft synths over the years, I still have a thing for hardware - I have a combination of analog, digital and sample based synths. I'm not inherently opposed to a synth with a hardware interface and software core, I just prefer knobs, sliders, switches and patch cables over working in my DAW. For me, it's not even about the sound - soft synths have long since reached the point of being able to make sounds that make me smile and I agree, to dismiss a synth on the basis of its being software or digital is shallow and shortsighted.

[@EbonyPope]

But how do you play them? Guitar player here just clicked randomly on this video? Do you just program them or do you have physical keys? Because if it is the former it isn't you making music but just programming like techno music.

[@mattward9312]

I guess Mozart and co didn’t make music then? When they put pen to paper to score a piece, what’s the difference between that and ‘programming’? @ebonypope

[@EbonyPope]

@@mattward9312 What??? That is called composing. Sure you can compose also using a computer. But both of these guys were incredible players by all accounts which also played their own music. These things aren't even comparable. Surely you could call it composing when you are programming but I think using pen and paper and writing symphonies is generally worlds above anything people do with those programs anyway. At least I never heard of a famous synth programmer. I think for good reason.

[@ischmidt]

What cemented "amp simulations are good now" for me was finding out that Alex Lifeson played his guitars through MainStage and plug-ins for the last 2 Rush tours. Not only did everything sound great, he was able to get a much wider variety of tones so older songs sounded more like the original record.

[@jorgepeterbarton]

​@@EbonyPopehuh? You'd be surprised at the similarity of process then. You tell notes where to be, and electronically you arguably do more as you construct new instruments every time and not rely on the same violin again and again, nor a performer interpreting, you have to manipulate a computer to give you emotions. No famous ones are you kidding? Sometimes the music is simpler because repetition, but then sometimes there is aphex twin and other hugely complex work. What about stochausen even...the modern ones that used synthesis.

[@kabongpope]

Man, I could listen to these 2 talk all day about everything and anything synthesis-related. Just good conversation happening with people who let the other talk and express what their ideas are. Good stuff.

[@sandpaper4483]

I remember having the same arguments in art school, I started digital photography around 92. The professors and the professionals I knew weren't understanding what was coming. But it's the same arguments, tools are tools just matters what you do with them. But my professors who thought they were the gatekeepers of their craft had no clue what the cell phone and Instagram would transform their craft completely. I still develop B&W film but now if I use film it's somehow received differently. Like you're purposefully using film. It's funny how it never changes..

[@eaman11]

What's fun is that most of those people uses some kind of MPC / Circuit / Digitakt maybe with a Hydrasinth but they belive their soul would freeze in front of a computer.

[@nsjx]

YES,..10,000 times yes ;) (also photographer here)

[@nsjx]

@@eaman11 yeah, but see that is rhe funby thing because there are multiple arguements which are not related but can be by stretching terminology ;) but you are right,... it gets funny at times

[@budgetkeyboardist]

So true. Another example is guitar players who cling to their old tube amps while the world moves on to digital modeling.

[@gevansmd]

To be fair, early digital cameras were very crude compared to film. We now can exceed 35 mm film resolution in camesr but it took a while.

[@nsjx]

Quickly becoming my fav Synth channel. Happy to help.

[@anthonymarinellimusic]

Awesome, thank you!🙏

[@nsjx]

@@anthonymarinellimusic Hey again, Anthony. Just wanted to drop a note that if you ever got curious to try a good analog-circuit modelled software then I recommend U-he Diva synthesizer. Take a gander at the User Guide for it. Howard Scarr, who is the main patch designer/author of the User manuals, is well-known sound designer and I think he was in the first all-synth band in England (Zorch). Diva is rad because they have modelled several belived analog (and a digital) designs and made a synth where,..get this... the patcher can mix and match the various modelled modules. I gotta say that some of the potential designs from mixed famous modules are absolutely stunning. Anyway, I stand behind everything U-he do but for the analog circuit lover in you then I highly recommend looking into that small developer. Again, have a browse in Diva's user guide to see just how much love went into it. I also love their ACE synth, which is justxa small semi-modular rack design with normalled connections to get started,...but the name ACE stands for "Any Cable Anywhere" lol... so you can patch the virtual audio cables to _almost_ any spot... w exceptions. Still not what one gets from -unconventional- patching but then again some esoteric routings Are actually possible and their behavior modelled. Have fun,...that's the main point to all of it huh ha 🤘

[@DonLuca27]

21:05 I think this is the biggest issue with digital: it's overwhelming. There is so much choice and so many variables at play that you get lost in them, while with a set of physical instruments you have to make do with what you have and you can spend only so much time fidgeting around before you hit their limits. On digital, you can do absolutely anything and you might find out you've wasted an entire day producing zero music because you've been messing around and obsessing over every single tiny variable in the equation that digital offers you. Sometimes we're like kids: we need limitations, without them, we don't have the responsibility to know where and when to stop.

[@koumospecial]

The companies need to invest on better more user friendly control interface/panels, but I guess this MIGHT make the product a bit more expensive…. or maybe not 🤔 What do you think?…

[@DonLuca27]

@@koumospecial Companies need to make money, so it's in their best interest to try and cram as much functions as possible into their product. And that's also what lots of people actually want. How many times you see a new product release getting swamped by comments of angry people lamenting that "x" feature is not present on their device? Yeah, it's kind of a lose-lose situation unfortunately. You know actually what would be fun? Making a synth instrument structured like a videogame where you have to get achievements/goals in order to unlock more functionalities. It would be a fantastic way to properly learn an instrument!

[@Abruzzo333]

For me, the noise is part of the sound of analogue that I like. I also love working in the box as well. I agree 100% with him on the workflow and getting your idea down aspect of pluggins. Having said that, I'll always keep my hardware because it's nice to step away from the computer from time to time.

[@MrVein5.0]

nah man, i grew up staring at screens. physical is what i want. and analog gives heart, soul, inspiration to figure stuff out. i can modify, repair. for me personally its about the feeling

[@lyva]

Digital doesn’t have to mean plugins. Loads of intuitive and inspiring hardware digital synths out there

[@MrVein5.0]

@@lyva ofc. idk if you answered to me or the other guy but thats why i choose the word physical. no doubt there is really nice pieces of digital gear. but a digital recreation of an old analogue circuit? why, unless the price is significantly lower. then comes the heart and soul part again. analogue devices are always gonna get personal with time and aging of components. allot of this is ofc up to user preference. some want digital exactness, 100% the same every time. like a CD. some want those imperfections.

[@Voxphyle]

​@mrvein5934 Because digital recreation of an old analog circuit is cheaper. And you can get the exact same thing through an entirely digital plugin. Don't get me wrong, I like analog stuff, but we're at a point now we can make almost 100% faithful recreations digitally. And those are cheaper to build, cheaper to buy, cheaper to maintain, and cheaper to fix. And you can have a faithful recreation of the sound of an aged synthesizer (or not) instantly, as opposed to waiting decades for one to sound exciting enough.

[@MrVein5.0]

@@Voxphyleliterally what i said, and i quote myself "digital recreation of an old analogue circuit? why, unless the price is significantly lower" so far we havent seen that. some brands i have made digital recreations like roland of for example the 808 (tr-08), still its more expensive than a behringer analogue recreation rd-8. and again im not bashing everything digital. cheaper to maintain tho? no, big brainchip goes bad in a digital unit and its a paperweight most of the time. a fully analogue circuit can almost always be repaired or modified. smd is not a problem.

[@Voxphyle]

@mrvein5934 I feel like you're not making a like for like comparison here, and just taking extreme examples. My Roland System-8 (that I just bought for $1000 after tax & shipping) can have the plug-out Jupiter-8 and Juno-106 on it. That's a fraction of what a Jupiter-8 would cost, and you could call it 3 synths in one. But if you compare new analog to new digital, analog is far more expensive. As far as maintenance, a circuit board going bad is often an easier fix than the complex wiring of analog. I'm by no means highly experienced in electronics repair, but I've replaced circuit boards in TVs, Subwoofers, and a few other items, and as long as you can get the parts, it's a relatively easy task. Far easier for someone inexperienced than, say, the complex wiring of a vintage analog synthesizer.

[@hdslave]

Emulations and analog recreations are holding back real innovation despite how cool they are to mess around with. Really loved this video.

[@urwholefamilydied]

what's wrong with "analog recreations"? Synths are a pretty basic instrument... there's only so far you can go with it. If you're trying to talk shit on Behringer, their Deep Mind is no joke and pushed the limits of what a "synthesizer" can do. Not sure how much further you can push it or where else there is to go. Add more voices ? LOL

[@ninethirtyone4264]

Would you mind elaborating on that? Because when it comes to digital synthesis, and emulated analog synthesis we have had so much innovation in the past 20 years and it doesn't really seem to slow down at all.

[@hdslave]

@@ninethirtyone4264 simple. Cloning a synth for a new platform is cool but now we just have that synth on a new platform. its like with videogames, they just keep re releaseing the same ass games year after year with tiny improvements all to milk us for nostalgia money. how about something new! like they said in the video, if bob moog was alive today designing a synth, it would be a BRAND NEW SYNTH that weve never heard before. not some moog ladder filter rerelease #636492. real innovation would mean new synthesis, new sounds, new interface. the only reason we still even care about 80s synths isnt becaue they are analog or anything but for the fact the synths were used in hit songs that we love. now within the last 20 years we have copies of the 80s gear and not much other than a few plugins to push things forward and even those plugins are mostly subtractive and fm synthesis which is old and well covered by now. the 70s-80s musicians that made the analog synths seem so cool only used those synths because they were state of the art and completely new at the time. we need that now more than ever. enough rehashing and re releasing nostalgia sales

[@dxfifa]

Synths pretty much stalled from the mid 90s to mid 2000s but the digital synth explosion breathed new life into it all. Think about the entire genres of music based off of Massive and Serum that changed the game

[@KingOfAceZ1]

@@ninethirtyone4264 What I would assume is being implied: Instead of really pushing the bar forward with all of the new capabilities that digital holds and innovating, the brightest minds in this industry are using their cycles on recreating existing instruments and achieving the exact sound of something made 50 years ago. A lot of time is spent re-making the sound of yesterday, rather than creating the sound of tomorrow.

[@LetWatersSing]

Cherry Audio makes great plugins, this was a great interview! Thanks for making it!

[@messybuttons7525]

Whenever this topic comes up; I always tell people, go for the workflow that you prefer. When I was young, analog synths were the norm, but samplers were coming out. I gravitated towards sampling which naturally led to computers and software. I was always a clicker and a menu diver. Some of my closest musician friends would ask me how I could stand not working with physical knobs … I just could. It’s my preference. My music “sounds” very analog, and I’ve had analog lovers in awe when I tell them my productions are 100% digital in the box. I’m equally in awe of what they can create with stacks of synths … cuz all the cables and fx routing etc make my head spin But workflow workflow workflow workflow. Whatever gets your musical juices flowing. Whatever gets from what’s in your head out into the world is the “best”.

[@furiobisotti8150]

I own only one analog device, since I was 14 (now I am 59...). It's a Korg MS20. love it and I will never sell it. But I bought a huge list of VSTs and I use them live. Flexibility is wonderful, sound quality too. In a recording studio we are making some comparison with a real Prophet5 and an ARP Quadra. We are recording an album with software... So I am a software heavy user and proud. But... I love the intimacy of being in contact with all the parameters to tweak everything in seconds with more fingers. Today I love when designers of new devices use digital for a full programming experience and not for cloning old things. Perfect examples are Osmose and Hydrasynth. This is the new frontier. Powerful tools, than can be only digital, of course.

[@wg821]

you may want to consider beauty of both worlds...checkout a used ms-20ic (or ms20 mini) which interfaces brilliantly with the korg ms20 vst. And yes the cv cables are simulated in realtime too!

[@chrismyers9177]

Your point about "quirkiness and unpredictability" is so crucial, Anthony. At the heart of it all, the entire creative process is quirky and unpredictable. No matter how repeatable and smooth digital becomes, we, as the primary agents of creativity, will always be a bit messy. Our "signal to noise ratio" will always be less than perfect. Maybe that lack of perfection is a big part of uniqueness. Maybe instruments that mirror that imperfection or share it in some way enhance the creative process as much or more than hinder it. Because we are emotionally and psychologically always in flux, maybe we share a certain kinship with analog instruments that is stronger than what we have with digital. I see value in both digital and analog instruments, but the more we remove the variability, the unpredictability, the imperfection, it may turn out that we lose something in the creative process itself. And maybe there is something in us that likes and even needs the imperfect, the unpredictable and the unexpected. The element of surprise can be very wonderful.

[@tooby98765]

I have digital synths with an "analog feel" knob to add quirks and wobbles.

[@shaft9000]

There's analog, and then there is vintage analog...and _then_ there are the early 1st gen polysynths; well before the I.C. & Z-80-laden '80s were in full force. I mean the ones that have a discrete voice board per-voice inside, a la Korg PS-3100/3200/3300, CS-50/60/80, OB-X, prophet5 rev1 and JP-4 / 8. They can behave wilder than monosynths a decade+ older than they are. The combined age of a thousand+ wide-tolerance parts and perhaps another mile+ of wiring stuffed into a tight space that is causing VCOs to change with temperature (have to let them warm up for 30-60 minutes, usually)....this confluence of variables is where the "more alive" reputation comes from. It also eventually goe$ into oblivion without maintenance. _Iow, owning any of these things aint all fun and unicorn farts!_ [although ime the Japanese manufacturers have tended to build the more reliable ones] The same model can play/sound/behave _very_ differently than another specimen that's neglected, or been beat to hell and gone. i.e. It's one thing to have digital algo that modulates the "stability" of an oscillator or other imperfection in a linear system that is inherently stable - therefore, every deviation must be specified in the algorhythms vs a 98+% analog system that starts out comparatively noisy and primitive, and only goes downhill from there. By 30+ years most of the circuit can become quite unstable and awash in noise and/or fail to stay in tune for any useful length of time.

[@rasmusjvindnielsen253]

Seth Meyers has a segment called "This is the kind of story we need right now". Well, this is the kind of thoughtful conversation we need right now. Thanks so much for taking the time.

[@milk_bath]

Sea Captain would approve.

[@realSethMeyers]

Agreed

[@d3maccus]

Dont bring Seth Meyers into this

[@Arthur-hg7ny]

I’m a very nostalgic person having lived through the great 1980’s. When I turn knobs on my vintage gear I’m transported back to an absolutely awesome time. Playing and interacting with them is like being wrapped in a warm blanket. I don’t care if they lose 100% of their value, I just can’t get that same nostalgic feeling through a computer screen.

[@ALFA8902]

Incredible discussion , I have to compliment you Anthony this is one of the best expressive intelligent discussions on analog vs digital synthesis Great episode

[@downpatmusic]

Coming from Barton, someone who has built analog, designed digital recreations, programmed and played both, this is a credible evaluation of the how good digital has become today. Perhaps the biggest benefit of analog is the theatre it can create in videos taken of it. It films well with these massive walls of knobs and stacks of keyboards. Perhaps build a studio of touch screen, video walls with all of your plug in GUI's up on hi res displays so the user can walk around a back drop of knobs. One thing I prefer with hardware is you remember you have it and use it. You have to update digital software and remember it is on the hard drive of your sound producing computers.

[@frankstetka7206]

Yes @downpatmusic , I was thinking of creating a giant wall print of synths that I wish I could afford let alone had room for, but even better to add a huge touch screen!!!!!

[@danafiorucci83]

I must say Cherry Audio has definitely upped the game when it comes to plugins sounding like actual analog.

[@thaneco]

There is a reason why analog synths made a come back. And that’s the sound and the soul !

[@toborexperiment]

it's more because of the user interface and because of marketing

[@uwe_bike]

No. It's just a lot of people who got old and now can afford the good old times 😉

[@ruslanluzkov]

New generation of music makes never will use analog. Only just for fun. Same how tube amplifier D type kit it. Listeners cache only final product witch is more powerful with digital possibilities.

[@imrealugly4960]

@@ruslanluzkovvery true i use all these thru vst and why make things more complicated its 2024

[@soliv27]

​@@ruslanluzkovexcept prices questions I would be more prudent. Who would have guessed stratocaster/Les Paul is still a choice. Synth guitar ? Because of prices it is tempting buying a modelling amp, but better with a 'valve reactor', and for choosing good ol' Vox AC30... which is sold again, young people still listen to The Beatles, Pink Floyd. They will use vst because they can access and play it with knobs on a nice midi controller. Also check eurorack enthusiasm, cheap Arduino/ Raspberry, DIY synths... Not sure they enjoy so well too much clean gear, without angles

[@johnp9650]

Great discussion! The ability to exchange ideas is NOT a completely lost art! I especially liked your use of the idea of gluttony. It reminded me of reading the book Screw Tape Letters for a Philosophy class in college days …

[@RichardFriendartist]

Incredible conversation. thanks for sharing this. I loved the back and forth and each person's perspectives!!

[@suitandtieguy]

Mark is a brilliant circuit designer but I've heard these arguments before. It all reminds me of that scene in The Matrix where the guy thinks he's eating a steak. Everything has a place. I just played a gig last night and all of my sequences amd their sounds were under total recall via an Akai Force, but my synth solo voice was the new muSonics synthesizer. Obviously Mark is working with Cherry on a soft version of the 900 series modular, and I'm sure it's going to sound great and have infinite power, but I'm still going to keep working on the hardware because it's just not the same, and I have minor tweaks I want to make here and there. If you make a "virtual 900" it kind of cosmetically and feature wise needs to stay completely within the parameters of the original. Because I'm making hardware I can take a different approach, but that's a discussion for another day.

[@juliusdobos]

Great video but this topic should not be about digital vs analog. I wrote a series of three "papers" (i.e. articles, like Mark B.'s article) on this subject 12 years ago, with almost identical points to Anthony's here. Mark B. seems to be stuck in the decades-old digital vs analog debate (an engineer's POV), while in fact the musician's focus (like Anthony's here) is rather on SOFTWARE vs HARDWARE. Even back in 2012 software emulations were really good and largely indistinguishable in the mix and I made the same points Anthony M. is making here: tangible interface, immediate control, parallel control with many fingers vs mouse, feel and inspiration of a "real instrument" and individual character, etc. are what matter far more than oscilloscope-zooming. A few more points to add: - The CS80, Continuum, etc. are *far more* real instruments than a mass-made plastic whistle or a "thumb piano" - Mark might have meant to refer to acoustic vs electronic instruments instead of "real vs electronic" - I would have liked to hear why Mark keeps using the mouse (after mentioning MPE) - also, another great topic to explore is fully mapped controllers, which largely solve the tangible and multi-gesture issues but not the rest of software drawbacks. The mouse is the engineers' tool, musicians prefer to interact with specialty tools called instruments. - Many digital synths (Hartmann Neuron as an extreme example) are extremely inspiring and hands-on, again, making the analog vs digital debate pointless; it's about hardware *instrument* vs software interface. (source: my 30 years as composer, synthesist, synth beta-tester for various brands, teaching professor of electronic music, owner of a 50-synth electronic music studio that I'm considering selling for a completely different reason;)

[@hornet1492]

"The mouse is the engineers' tool, musicians prefer to interact with specialty tools called instruments." - I love this.

[@BlueTechnique]

If not for going all-plugin, why else are you selling your synths? Will you still make more DBZ music without them?

[@ericpircher]

I absolutely LOVE this interview! It gets right down into that existential dilemma about the tyranny of choice and the folly of omnipotence. I did not perceive Mark as “arrogant”, but rather as the mirror reflection of the zealots he mentions @ 19:00. Anthony gets to the crux of his counter-argument @ 16:04, that “more isn’t better music”, and says it even more humbly when he counters Mark with “I’m defined by my limitations.” It’s not like I needed any more proof of why I like so much how Anthony carries himself. If he’s reading this, I’d just offer my huge thanks for starting this channel, and simply keep being you :)

[@thepanicroommastering2062]

Congrats from my deepest Heart for reaching 100k Subscribers ❤️🎉🍾This Channel is a mindblowing Treasure. Getting Lessons from a True Master is so meaningful to me. So.. many thanks to Anthony & his Team! for every Minute of your Channel’s Content ✨☯️💫

[@Ohenry92]

@4:57 “It’s the music in us that gets to the listener through whatever that instrument.” Well said. No matter if it’s digital or analog, it’s up to the musician to make it something special.

[@AbsurdTV1]

I am NEVER selling ANY of my old synths. - Period.

[@MarkoDeLaVoota]

your wife will , just tell her or leave a note so she won't do it for the money you said you bought it for 😂 same story on my end brother

[@AmericanBadger]

I’d like to offer you $600,000 for the least expensive analog synth you own. And even more than that for each and every other synth you own. No questions asked. Oops. I just re-read your post and, based on my better understanding of your comment, I feel I must retract my previous offer. Don’t feel bad for me. I’m sure I can find someone else who may be more willing. 👍😉

[@georgeoffenberger1262]

Unless you’re desperate for money ya never get rid of gear. If its not costing you anything. Keep it.

[@foljs5858]

Well, G.A.S. hoarding syndrome is not necesarily something to be proud of

[@johnnybambury]

I sold a few to save my business through lockdown and my business still went , guts me I let them go for a complete waste . Got a few left and like you Never again .

[@andy80sdrums]

I am glad I sold all my analog synths and hardware (over 45 pieces!). The maintenance alone was a nightmare. I am vintage free. And couldn't be happier. You do you.

[@hilarymockewich5588]

What do you use now? Like what did you like hardware controller wise and software.

[@russell_szabados]

Almost the same here, I’ve only kept the first two synths I ever bought as a teenager and only for nostalgic reasons. I’m happily mapping out my MIDI controllers for my most used virtual synths. No need for labeling, cabling, inhaling dust bunnies, half-normaling endless patch bays…

[@Microtonal_Cats]

AA. Analog Anonymous.

[@chinmeysway]

hm well clearly ya just had way too many things aye.

[@diegogomezjurado6178]

Lol

[@busyworksbeats]

I love the analog depth and amount of expression but I literally have all my synths wrapped in plastic rn 😅 plugins won 🏆 lol

[@guyvermearns]

Great conversation! I really agree with how digital instruments need to focus more on evolving their interfaces to allow us to express easily with more depth. This has already started to happen, with things like macro knobs and xyz pads. There are also some really cool controllers being developed like the Linstrument, which looks amazing and unique.

[@you-tubero]

As someone that's used vst's for almost 20 years, I've fallin in love with analog synths lately.i have no explanation as to why the sound attracts me so much!

[@Thoracius]

the problem with early digital is not just that it lacked the resolution, but even just very recently they'd absolutely have to optimize the hell out of it in ways to make it efficient that also make it really flat. Calculating a sine wave is computationally really expensive. So they'll calculate it once, save it to memory, and then just read that off of memory. But that means it's exactly the same on each loop. With analog there would be subtle (and sometimes not so subtle) fluctuations. Also in digital programming data flows only one direction -- functions have an input and output. But in analog, electricity flows both ways on a wire, so affecting something towards the end of the chain can affect something higher in the chain. Of course digital today is finally getting really nuanced in modeling all the great aspects of analog. The Cherry Audio stuff I've tried is great.

[@frankstetka7206]

This note from @Thoracius , just made me think of how all my analog poly synth’s sound lo-fi and seriously why do people still enjoy listening to vinyl recordings? Even ordered harmonic distortion perhaps.

[@EbonyPope]

But how do you play them? Guitar player here just clicked randomly on this video? Do you just program them or do you have physical keys? Because if it is the former it isn't you making music but just programming like techno music.

[@rahzaelfoe3288]

​​@@EbonyPopeYou can play synthesizers in many, MANY different ways. Besides the standard midi keyboard, there are classics like the theremin and breath controllers like the EWI that give far greater expressive control over the sound. There have also been many recent developments in MPE controllers like the Osmose, Continuum, Linnstrument, Striso, Soma Flux, etc... Midi controllers should allow even higher resolution of expression control once MIDI 2.0 starts getting adopted (uses values with 32 bit resolution instead of 7 to control synth parameters). And don't knock programming, either. Tim Follin, a famous video game music composer got his start programming music on a 1-bit buzzer (basically the same as a comb and some tissue paper that was mentioned here). And we're talking tricking the listener into hearing full on chords, percussion, bass and leads on a speaker that only receives a series of on or offs as input.

[@Behnan]

Don’t think the question is analog vs digital. I mean the reason why Michael Jackson was so influential was, that he always wanted to create sounds never heard before. And after Thriller and bad, analog gear became boring. What else can you get out of a sine square triangle wave form, that you didn’t hear 1000 times before… so he told Rodney Jerkins to get out and record natural things… I guess for the song morphine Brad Buxer used heavily sample cd libraries which he put in his emulator iii. Digital with analog filters;) A pad is a pad A bass is a bass A guitar is a guitar What we need are songs with universal Melodies where you think…damn this song was there, before someone find and compose it.

[@MrCucumber416]

This guy looks like he's the hitman for Griselda Blanco

[@phillytle5114]

I forgot to add... thank you Mark and Anthony for your contributions to the music world! Keep it coming :)

[@23Hashshashin]

Fantastic conversation. So many great perspectives covered on this divisive subject. Honest and authentic from front to back.

[@DaleNorth]

Anthony, you said like 15 brilliant music creation insights in this that I found myself wanting to write down and share with others

[@cjcurcio]

What a wonderfully refreshing discussion! Thank you both so very much!

[@DaveLitten]

I liked this discussion a LOT! Thank you both. I am an experienced electronics engineer and have been building analogue synths since the 80s. Take the Minimoog. All of the electronic analogue circuits used switching to get the waveshapes out. The oscillators were just charging a capacitor and then shorting it out, so I defy you to hear any difference if done digitally. The same goes for the envelope shapers. No difference there then! In my humble opinion, it is the Bob Moog Ladder filter that gets the discussion more intense. Digital versions use a different approach, they do NOT create digital code to create the Ladder but rather use state variable filters. These still get 24dB per octave slope and sound the same to my ears. I, too, am a musician, and for me, synthesisers are instruments, whether analogue or digital - I think both types should focus on the performer and build a great human interface for a great performance synthesizer ... Your opinion Mark?

[@WinfriedSitte]

...and what a wonderful, thought-provoking and enjoyable conversation. Thank you gentlemen!

[@flingar]

I enjoyed this conversation very much especially the fact that it was made in a room built of analog synths! 😊

[@rustyapellido4611]

This was a great conversation, very polite but genuine conversation from you Anthony. Stay powerful.

[@d3maccus]

Nice avatar

[@rustyapellido4611]

@@d3maccusurs is cool too my friend, stay powerful

[@d3maccus]

@@rustyapellido4611 haaha ty - there arent engouh radiohead fans representing the synth scene haha - its all edm. radiohead and pink floyd are the GOATS ahaha.

[@inthemindsof978]

I think the main appeal with analog enthusiasts in regard to sound quality is the warmth. I’ve never heard a digital synth translate the warmth because I think it’s enveloped with the noise. You lose warmth with the noise. Digital is great for creating crisp sounds but I like the warmth of analog like with vinyl and tape. I use both to get the balance I like. Great video! Thank you for sharing.

[@juanvilchez]

Amazing content, very valid points on both sides. Two brilliant guys speaking freely on a topic, no strings attached. Lovely and very enjoyable.

[@boxfishing]

Great discussion. Thanks for introducing us to Mark’s paper and having him on the channel. One minor thing, if possible, summarize the guest’s career when the video starts. It felt rushed here at the end and it’s valuable to know where the guest “is coming from” and their “authority” on the matter. Also, SAM, brings Commodore 64 memories. Thanks!

[@robertoribeiromarques5817]

as you pointed perfectly the mouse is exactly like turning knobs with your hands and that " performance " is not even close when you have to click every time to get something changed using plugins. thanks for the great interview 🌴💚

[@adamwayne6476]

I think personality is a key factor in all this. Some like the puzzle and the fight. It’s inspiring to them. Others prefer streamline. There’s no right or wrong here. Beautiful discussion.

[@CinematicLaboratory]

I can imagine it makes sense, but it can't be true. Digital Synthesis doesn't have a rabbit hole like eurorack, and has infinite possibilities which is still a lot more compared to 32 bit float. Analog doesn't have bugs, cloud licenses and updates like digital, and it has no problem with exceptions that are unhandled or skipped by the programmer. A modular doesn't suffer from latency either and doesn't ruin your project when a VST is buggy. A few updates from now, your project wouldn't even load. I LOVE digital, but it doesn't have secret world like a Serge system.

[@thomasgreer467]

I’m a long time synth lover. Bought my first analog “ARP Odyssey” in 1977. Then a Model D, Micromoog. Memorymoog, Roland Super Jupiter and others. My very favorite sawtooth came from the Odyssey and when GForce released the Oditty2 I suddenly wondered what those oscillators and filters would sound like polyphonically. I bought the GForce plugin just to try it and absolutely loved the ARP sound as pads. Did the same thing with their version of the Minimoog. It opened up a new world to me as a composer. I rarely use those two hardware pieces anymore, but for nostalgic reasons I won’t be selling them.

[@darbyorr]

Wonderful discussion! I'm in the plug-in camp these days...but hey, play what makes you happy. Started with analog ( because there was no digital in 1976...) and sold most of my synth collection over the years. Extra points for the West LA Music hat....talk about vintage!

[@artemi-music]

Thanks for this conversation, I was on the edge of my seat. One point of criticism if I may, I thought you never allowed to finish a point to your guest, I would love to hear more about analogue vs digital from him.

[@russell_szabados]

Thank you for bringing the digital conversation to the channel, Anthony!

[@ORIGINAL_MEDIA]

Keep going Anthony Marinelli. This is Interesting KZbin Channel. So many exciting videos.

[@DougMcDave]

When Daft Punk made the music for "Tron: Legacy," I loved what they did to that uniquely synthesizer sound. I do not know if it was through analog synthesizer technology. But it expanded electronic sound instead of trying to recreate non-electronic instruments. One example is "Derezzed."

[@jasonk125]

I'm totally with this guy. I love building and sharing presets.

[@wigglwrrm]

Amazing, well-said, and about time. Thanks so much for this conversation!

[@BullyMaguire4ever]

Anthony buying the IIIc is the real winner of this video.

[@DataBroth]

Thank you for having Mark on, this was a great video 100% agree

[@Ennuae]

Love this conversation. I was thinking of buying a bunch of analog gear, like the Octatrack etc, and setting the Deluge as my centerpiece for a live performance. I decided to just get the Ableton push 3 standalone! I love 21st century musical inventions!

[@TonyPelosi-music]

just thinking… sometimes we need some calm when creating… to breath, feel, laugh, take coffee, enjoy the magic on Music without being just efficient and skilled. I loved Marinelli's clever questions. Anyway, it is a quite interesting chat. Thanks

[@xradical89x]

this is my favorite video of 2024. thank you! it's so refreshing to hear!

[@mrdavies7894]

Really really nice interview, Anthony! Wonderful to see you again!

[@EchoKraft]

This was a great conversation. In the early 2000s I sold all my gear and went completely digital. Something was missing so I decided to stop buying gear again and now I have a full studio again with gear. However, I also use a ton of virtual instruments on my computer which I love daily cherry Audio is one of the companies that I use plug-ins by and also Arturia and the list goes on. I think digital and analog and digital synthesizers. Physical ones are all great and they all play in the sandbox together nicely. I will never sell my gear again. I might put it away. I also might sell a piece here and there that I’m not using but to sell all of it that won’t happen not this time been there done that bought and made the T-shirt , thank you gentlemen that was a great conversation! 👍🏻

[@DrPiano-hs3fo]

After years of producing professionally, I've found that great part writing for me is mostly the layering of simple patches that both contrast and compliment each other. This concept seems to apply not only to classical orchestration, record production, but also many artistic disciplines (cooking, painting, architecture, etc.). That being said, for my purposes, I really don't need wild digital synths with limitless oscillators and options, because in the end of the day I just don't think that is the best way to achieve balance in a song, especially one where vocals are the featured part. Great video Anthony!

[@take942]

Extremely interesting interview and thank you for posting it! Affirming the points Mark Barton made, one of the plugins I use in my DAW is Arturia's "CS-80 V". With its settings for modulation, aftertouch, mod wheel, LFO tweaking, etc., it goes far beyond what the original Yamaha "CS-80" was capable of. The creativity is limitless. Thankfully there were original analogue synthesizers back then that gave birth to today's synth plugins.

[@robertlee1176]

This was great to listen to. It’s amazing how different people think. I love limitations but very much appreciate people who can navigate endless possibilities. Mark might like to check out Nob Control, if he hasn’t already. Thanks for the video

[@djwickit]

I really enjoyed this video, and I feel compelled to share my perspective. I've been producing music for about 20 years now. I mainly started off with a DAW, plugins, and clicking my mouse, and I did only that for many years. When I finally got ahold of a Grandmother Moog, the DSI Tetra, and other hardware synths, I found them wildly inspiring. I could ramble on for days about this, but to best sum up my point, my philosophy is simply "why not both?". I've seen purists who boast that they never use presets, and that they aways design their own from scratch, whereas I've known people who ONLY use presets. I've seen people brag that they never use loops or samples, and I've also seen those that strictly rely on them. I've seen people using chord generating VST's, just like I've seen people master music theory. I believe that we should always use ALL of the resources available, rather than rank them. Use digital, but try analog. Use analog, but try digital. Use presets, but learn to make your own. Use cheat-plugins to generate chords and scales, but also learn how to compose your own. I feel like anytime we as musicians/producers find ourselves at the question of "this or that?', the best answer is "both".

[@PlugInGuruVideo]

Anthony, I LOVE this discussion and that Mark has committed himself to the digital world. I could never do that - I love both and I don't think one replaces the other. Does digital REALLY model the way a specific tone oscillator chip sounds when powered at a set level into a filter and then into an Amplifier chip in an analog synth? NOPE!! If I raise the resonance, is the distortion from the filter over-driving before it leaves for the Amp chip modeled and sound the same? Nope. For example, if I take the output of my Moog Voyager and feed it back into the external input, the resulting sound is like a freaking symphony of beautiful distortion. Try this on any of the software Moog clones and it doesn't sound anywhere even close on any of them other than the Universal Audio version (the UA version is by far the best of the clones.) They're different beasts. I LOVE how some of the software versions of the MiniMoog sound and none of them are a replacement for any other OR for the incredible hardware that inspired Mark and countless other software developers to shed literally years of their lives making these other versions. They're in the same state but definitely not in the same zip code and it isn't a bad thing. Thank GOD it doesn't have to be an either or proposition!! I'll take them all, play them all at once in Unify and raise my hands to the heavens for the glorious waveforms that massage my ears.

[@AlexusDelphi]

I'm going for digital sound, analog feel. All of the synths I use are software and premade MIDI controllers don't give me enough to use them how I want, so custom controllers is where I'm headed

[@slimyelow]

4:14 - excellent point. I have played acoustic instruments all my life and until very recently never gave a thought about varying brands of software synths - "they're all the same". But I have found my favorite manufacturer (rimes with berry) where the intuition, precision and consistency across almost all instruments is so satisfying. I instantly come up with ear worms and inspiration by simply whooping up a patch and hitting a few notes. Most other soft synths in my collection collect 'dust' and hardly ever get loaded because they don't provide that easy access magic.

[@johnunkerman]

Thank you for this. Back in 26:01 2017 (while under extreme personal duress), I literally had to throw all my analog and vintage gear into a dumpster! No time to sell. Even though at the time I could see that plug-ins we’re gonna take over, I still had severe regret for seven years - especially when the prices of vintage gear kept getting crazier and crazier. That was until now. Seeing this interview. I can finally stop beating myself up about what I did, and realize it was probably a good call. So thank you so much for this. BTW, some of the gear I tossed that day was my beloved ensoniq SQ-80, my 2 Oberheim DPX-1’s, my DX7, my 2 Roland U-110’s, my Akai S900, and so on and so on. Obviously the samplers were the least regrettable, and for the DPX’s I had extensive libraries (like EII and prophet samples), but except for my custom samples, I can still get most of those those today, so what did I really lose besides a ton of cash and boxes and boxes of unreliable 3.5” floppies? Not much. Thanks to this wonderful interview by musicians and pioneers I truly respect, I can finally let it go, fully forgive myself 🙏 ….I think 🤷‍♂️

[@trevor_mounts_music]

Who tosses that shit in the dumpster? Could you not be bothered to take it to a pawn shop or just outright give it to someone that would use it? The dumpster, bro? That was the best you could come up with? Was the studio on fire? Did you have a warrant for your arrest and need to leave the country immediately? I have so many questions 😂

[@johnunkerman]

@@trevor_mounts_music it was really complicated, and you’re right - it was a choice, and a really bad one that I regretted deeply. However at the time I was mad at the universe and had reasons. What’s even worse was that it was all original gear that I purchased new in the 80’s and early 90’s. Probably 40K worth in total! …we all do stupid shit when we’re in a really bad mental place…. Only good news is that I can do most of it better now with a single decent laptop. I guess the only thing I can’t replace is my vast library of custom Emulator II samples. Oh well 🤷‍♂️

[@ListeningIsEmptiness]

People should choose the instruments that make them happy. Having said that I found it interesting that two of the things Mark found that analog had over digital - immediacy and fun factor - are to me the most important. I also found it interesting the view that digital is better because it doesn’t have the noise of analog. If you can’t hear the difference, is it better? And if you can hear the difference, some people will prefer the noisier sound. Certainly traditional instruments produce lots of “noise” - I.e., ancillary or unintentional sounds cause by the performance itself. Removing the noise changes the music.

[@LinoBento]

One of the most interesting conversations I've ever seen in my life about this "controversial subject, hardware versus software". I believe that this subject would yield more videos (not to mention articles). Just like in life, there are not just black and white, there are shades of gray. Both options (hardware or software) are challenging, interesting, fun, exciting and we live in a time where the number of options is almost infinite. This video reminded me of the time when the movie in the cinema was so good that I would watch it 2 or 3 times in a row!

[@vanessajazp6341]

Excellent description of how digital is 'more analog' than analog!

[@DaGabbaGangsta]

Brilliant interview, have a read of that paper tomorrow. I bought a barp 2600 precisely for its limitations, something out of the box as well, love the thing. I'm going for a hybrid set up, certainly dont need anymore plugins.

[@RomanRyabtsev]

Absolutely true. I sold my 29 hardware synths (both analogue and digital) , bult a very powerful PC and feel myself happy producing in a digital domain 😊

[@BenMartinBox]

I agree with Mark. I've done the same with my old hardware and since then I only use VSTi(s) in the box. The instruments (VSTi) options to choose from, are huge and the wallet also thanks me. About the sound I don't feel like I've lost something or any quality whatsoever, rather the opposed and I guess Anthony is making an huge confusions about player expressiveness and hardware manipulation (engagement). VSTi are also played using the same type keyboards with knobs, pretty much like synths are. Such hardware is called "MIDI controllers" (there are good ones and not so good ones to choose from). About existing too many VSTis, to the point that it "paralises" the musician, well, it all depends on you (the musician) and it is a question of discipline /choice. Choose 2, 3 or 4 VSTi synths that you like the most and be minimalist that way. Also, from my point of view, mixing ethnic acoustic instruments concept with synths in the same conversation is always a bad idea. For the musician /player, Synths are Synths, Violins are Violins and nothing ever will change that, so, such things don't mix in that way, even when there are a lot of libraries emulating full orchestras with an astonishing quality and playability. Stay safe.

[@SaccoBelmonte]

I don't own analog gear but had the pleasure to play with a huge ARP 2500 and 2600 as a student in times where "NI Generator" (later NI Reaktor) was in development. I think an old 2500 is just as cool as programing stuff with SuperCollider or making SynthEdit VSTs. All super exciting and inspiring.

[@bassnsax]

Awesome interview! I FULLY agree that there doesn't need to be these binary camps/tribes of "Only Analog" or "Only Digital" - focus on the music, and use the tools that work best with your workflow and inspire you! How did I not know that Mark Barton contributes to Cherry Audio before this video?? Outside of Voltage Modular modules, I have bought most of their semi-modular plugins (mostly as a way to get close to those amazing vintage synths and learn them at my incredibly slow pace, without having to invest in the vintage gear and thereby removing one vintage instrument from being able to be purchased by a better synthesist 😅), and I love each and every single plugin they've made! Cherry Audio rules! 😁😁

[@melomane2010]

Its always been about affordability and work flow for me. Back in the early 80's, I became a true believer in the promise of digital audio and it's taken way longer to get here than I had hoped, but I think we finally made it - affordable and user friendly digital recording and synthesis software that is indistinguishable from much more expensive analog hardware. All you need are some nice MIDI controllers and it doesn't feel like you're using software at all.

[@MarkGardner66Bonnie]

such a compelling conversation...i have total respect for you both for not being closed minded to either...to me... hardware is free from updates and has an immediate experience...software...is better at everything else...

[@trevorjoseph8390]

Both have value in the modern world....blending is both is great, Cherry Audio is a fantastic company making retro synths VST's!

[@MattDavidson303]

5:50 his face lighting up at the processed kick ride sound. These are the studio moments to die for.

[@JohnLRice]

Good discussion! 😎👍 I think what ever appeals and works for someone to achieve their goals then that's what's best for them. I for one almost never use "soft synths" because they aren't as fun, as interesting, or as satisfying as my physical synths are to me. (lots modular and keyboard/rack synths). And mountains of physical gear will win every time on stage as opposed to a lone guy with a laptop on a folding table that looks like he is browsing the internet! (even if most or all of the physical gear is just for show and there is a tech behind the stage with a lap top running the show! 😅)

[@hdsubstance1]

This is exactly the discussion I wanted to listen to.

[@mikeloganaudio]

Great discussion, thoroughly enjoyed watching! Mark is completely right, we are so far gone into the digital era by now that any arguments of 'analog superiority' are almost always just placebo - the trick now is for musicians, sound designers and plugin/hardware developers to program in themselves the warmth, or the unpredictability, or the physical tactile human element that they believe is lacking in digital synthesis.