[sdiy] Tomita - list problems

[Kenneth Elhardt]

I found this quoted in another post where it said that Kenneth Elhardt
wrote:

>Strange that you say that because, to me, Tomita is the
>anti-Carlos as far as sound is concerned. I haven't heard
>_Well-Tempered Synthesizer_, only _Switched-on Bach_ and
>_Secrets of Synthesis_, which I both find as sonically
>unpleasant and monotonous as I find Tomita's work enjoyable and
>varied. Any filiation between their respective works seems
>unlikely.

Just to clear things up, I am a Carlos fan and recommended Well-Tempered
Synth.  I just don't want people thinking I made the above statement that
was applied to my name.  Odd, that I don't see any original post where this
text is from (don't tell me posts are being dropped again).

As long as we're on the subject.  W.T.S. goes far beyond most of Switched-On
Bach.  The sheer number of timbres that fly by, some only lasting for a
couple of seconds on WTS, is unmatched.  Not to mention they are beautiful
and done with taste.  There is more timbral color and timbres in some of
those pieces than most other synthesists accomplish in a lifetime.  A search
around the web refers to it as Carlos' best album, or the best sounding
synth record ever, etc.  It's a shame that somebody can pull out more varied
timbres from a synth, orchestrate and perform them like nobody else (even
Glen Gould noticed that), has been unmatched to this day in accomplishing
that, and those qualities can't be heard by some people.  And to another's
comment about sterile?  Think animiated Moog sounds with expressive dynamics
is sterile?  Try 180 degrees the exact opposite.  You will never hear an
analog synth sound more unsterile.

I must point out that while Tomita is also a master, you have to take some
bad with the good there.  Some things Tomita does can be considered cheesy
or lacking in taste, and the original orchestral versions are more
satisfying.  Tomita cheats by using a Mellotron and real acoustic
instruments, so you're not hearing just a synth (some things I was
originally impressed with, turned out he didn't even synthesize).  He piles
on a lot of effects which is easy to do to sound impressive and he uses
polyphonic keyboards too.  Carlos shows us what just a modular synth can do,
Tomita shows us what a bunch of other stuff all assembled together can do.
They are somewhat opposite, but both are necessary.

The point is that both Carlos and Tomita are the two synthesists who from
the 70's to today are still held up as unmatched in what they accomplished.
They've won the awards and the votes.  If you don't appreciate what they
did, don't blame them but look at yourself.

Richard Wentk writes:
>>I think he lost the plot when he (Tomita) started to go digital. I'm not
sure why, exactly, but Grand Canyon and Dawn Chorus don't do much for me at
all.<<

That was the downfall of almost all synthesists.  Analog goodness replaced
with horrid digital sounds.  Tomita even sunk so low as to use factory
Synclavier presets and Emulator factory disks.  That was truely the end.

Heiter Alves writes:
>>I've wondered... dont you guys like JMJarre? i'm a fan since i can
remember<<

Sure.  I've got all his stuff.  But for the synthesists there is a
difference between required listening which shows what a synth can do when
pushed to the limits and suggested listening which is there mostly just for
fun entertainment.

-Elhardt