I created a server. I haven’t done much setup yet, but if anyone wants to join: https://discord.gg/CsGN9zzC

I’m not opposed to whatever someone else wants to set up, I just mentioned Discord because it seemed like a low-effort solution. The upside to a corporation running it is that DDOS prevention and such are someone else’s problem.

Just a thought - we could start a Discord server. It’s not really the same kind of medium, but could still have channels for different topics (music production, synthesizers, etc.) and much easier to maintain I think.

It was nice while it lasted, thanks for all the effort you put in!

So, where are you going next? There are at least a few sizeable synth forums out there, and it might be nice if most of us migrated to the same place. I’ve been back on Reddit a bit, but not sure I want to continue that.

Deepmind was the first synth I returned to the store for a refund - did not care for that workflow at all. At the time it was a compelling feature set for the price, but there are so many more options now.

I hear a lot of good things about Pigments, but it’s a tough sell when Vital does most of the same things for free.

Arturia is doing a sale on their software synths. I’m resisting the temptation to add to my collection, but I figure someone here might be interested.

Sounds annoying indeed. I don’t have any firsthand experience with pedals, but I see Strymon Bigsky recommended a lot.

Edit: Oops, forgot you said you already picked something.

Just in case you aren’t already aware, installing the drivers for your audio interface and making sure you’re using ASIO can make a huge difference for latency. With everything set up right, it’s low enough that I don’t notice any difference between listening to synths directly via their headphone jack vs through my DAW.

If you’re planning on running it through a PC, you can get reverb plugins for cheaper than hardware. Valhalla Supermassive is free, for example. Personally, I use Raum a lot - I got it during a promotion where it was also free, but it’s normally $50 and sometimes goes on sale.

I’ve been hit hard by the GAS. I have too many synths already, and I’m always tempted to buy more. It’s an obsession - every single night I’m looking at synths on my iPad in bed. I spend way more time staring at synths I want than actually playing the synths I own.

Yeah, it’s not good.

Part of the problem is every time I realize I’ve gone overboard, thinking about scaling back and selling synths gets me back into over-analytical comparison shopping mode. I’m trying to figure out what’s the best possible combination of just a few synths to keep, and then I think “hey, this new thing could replace 3 of my other synths.” Except in practice, usually the new thing isn’t as great as I thought, and it becomes more difficult to decide what to keep and what to sell. I don’t want to make that mistake again.

Maybe I’ll sell some things later, but for now the important thing is I have everything I need to make the music I want to make. That’s what I should be spending my time and energy on instead of making databases to compare and rank synthesizers. (Yes, I’ve actually done that.)

I like the idea. I probably won’t have time for it every week, but sometimes.

It seems like a common problem that it’s easy to come up with short ideas/loops but hard to develop them into full-length songs. Suddenly I’m wondering how much the step limits of most sequencers are contributing to that. For instance, every time I sketch out an idea on my SH-4D I’m limited to 64 steps… a short loop that I can’t extend unless I recreate it in a DAW and continue from there.

Even with the MPC Live 2, which can create full length songs, the workflow seems designed for working on one loop at a time in isolation. Now that I think about it, that’s why I don’t get along with clip-based workflows in DAWs either. If I’m dealing in isolated units like that it seems harder to naturally transition and from one part to the next and arrange a coherent song.

I’m curious if anyone has noticed these things making it harder to get past that one first loop. Or maybe I’m just imagining problems that don’t exist.

I think it would’ve made more sense to start with something all-digital. Instead they decided to invent their own analog oscillator design on top of everything else novel they were trying to do. Maybe it does have something unique and special to offer, but I haven’t found it yet.

I want to love Nina (the synth with motorized knobs.) On paper, it’s amazing - a 12 voice analog polysynth, plus a wavetable oscillator and digital effects when I want them. The motorized knobs really are a game-changer for modulation and multiple timbres.

But every SINGLE time I sit down to actually spend time with this synth, something goes wrong and I spend my time writing up a bug report instead of making music. The worst part is I don’t even know if I’ll like the synth when all the bugs are fixed. Even when I make simple, basic analog sounds I don’t really care for the tone. FM using the digital oscillator as a mod source seems broken, but I’m not sure if it’s a bug or just the best they can do with the hardware design they shipped. I know the hardware signal path is why they’re stuck with effects being applied to the final mix instead of per-timbre.

They’ve done some brilliant things with this synth and I want it to succeed, but at the same time I feel like buying one was probably a mistake. Now I’m just hoping they follow through on the promise of open-sourcing it so I can try tinkering with it myself and see what improvements I can make.

Honestly, every time I sit down with it I run into something that seems broken. The developers take feedback well and have been fixing a lot of things quickly, but I’m tired of writing bug reports when I just want to make music.

The potential for greatness is there, but I think it needs some updates still.

I’m glad someone (@ChappIO@waveform.social ?) found a way to automate this. I forgot last week and probably would have forgotten again.

I’d start by reading the manual and experimenting with things as you go. When you read about the oscillator parameters, try them out and listen to what happens. If you stumble upon something interesting, save it, and then experiment with other changes. See if it sounds better with chorus, reverb, maybe some additional modulation, etc.

I learned mostly from experimentation and youtube videos. A lot of synth reviews include tips for interesting things you can do on that synth, and Ricky Tinez in particular has a lot of videos about the Peak.

I’m in a similar boat as a solo indie dev making my own soundtrack along with everything else. I’ve made one game soundtrack before, but that’s not enough to really feel like I know what I’m doing.

I frequently make tables and checklists to keep track of progress on things, i.e. different stages of completion like:

• Sketch (a rough theme and maybe some accompanying parts)
• Mockup (arranging A/B sections and so forth but they’re just copy/pasted with no variation)
• Draft (got the general idea of the variations and full arrangement, but not polished)
• Beta (mostly final probably, but need to check it on different speakers and probably tweak the mix/master)
• Release candidate (I think I’m done)

In the later stages I’ll take notes as I listen through looking for the things that stand out most I want to change, then go back and work on those things one by one. I might also have a checklist of things I want to be sure to pay attention to on every track, i.e. making sure there’s enough variation in percussion parts across the track, because I have a bad habit of making simple drum loops and forgetting to spice it up if I don’t have that reminder.

Looping isn’t necessarily the only answer. I really liked Dune 2’s approach - basically shuffling through a pool of chill music when nothing much is happening, and then interrupting with one of a few “attack” tracks when combat starts. I think it kinda depends on how long levels/missions are - one looped track will eventually get old no matter how careful you are to avoid distracting/annoying parts.