>>>>are you talking about techniques of working with what is now vintage
equipment? cuz we've still got the equipment... or are you talking about
techniques of electronic design, techniques that would have brought us "next
generation" vintage equipment? that's an interesting question...
I just meant composition ∗independent∗ of the instruments, in a way.
I love gear, I really do. I got lots of it. And, I've got lots of computers,
sequencing software, digital audio workstation software, and all of that
stuff, too! I'm no dummy! I use what I can get my hands on! I believe in the
best tool for the job; I'm a modular synthesizer nut, but I'm not an idiot.
:)
Also, I subscribe to Keyboard and EM, even though I think they have largely
fallen into ruin, just because I like to read about new gear.
But I do think that we as electronic musicians have a peculiar curse in the
fact that our instruments change so quickly. Someone learning the violin is,
for the most part, learning a traditional instrument in nearly exactly the
same way that people have done for hundreds of years. And with an acoustic
instrument, you have a certain very personal relationship that develops over
long years that you just can't beat.
But while we as synthesists have the excitement of seeing new tools
barreling down the pike at us, at the same time, we can't ever seem to stop
and explore what we have for very long. The convenience of the new tools is
too enticing, especially with our fast-paced lifestyles. And by the time you
can afford something, you really want the next thing in line. (I thought it
was great when, immediately after buying my Kurzweil K2000, the 2500 came
out, and Carlos (who recorded a few albums with nothing but two K2000s)
commented, "I'm not planning to upgrade. The K2500 has some new features,
but the sound isn't one of them.")
(It's the same with my job, though---I'm in the IT field, and you just can't
rest for a minute! Every week there's something new you have to know. I envy
people like carpenters and such that can, for the most part, just refine
their skill without having to throw out every tool and everything that they
know once a month, just to keep up.)
Certainly nothing is stopping us from saying "hold it! I'm not buying
anything new! I'm going to use what I have!" But not only is that
unrealistic, it leaves us composing with Paia 2700 systems in a world of
MOTM modules! But for me, MOTM is buying something new & improved while
still being true to the spirit of sticking with one instrument and learning
it really well. If that makes any sense. It's like playing a violin and
upgrading to a Stradivarius, not tossing it out the window for something
completely different.