I must admit that, although finding large collections of vintage gear interesting to look at, I wonder....what's the point? To impress those in our small community or to actually use in music composition/recording? If in composition/recording, what could possibly be gained by having almost every manufactured modular synth ever made in ones studio? One couldn't possibly master all that is required to utilize each synth to its maximum capability. I recall the recordings by Tomita and Wendy Carlos (Moog), Suzanne Chiani (Buchla), Michael Stearns (Serge) and others who spent days, months, even years learning their instrument in order to get the most that each was capable of. Each instrument can produce very similar, if not exact, timbres and nuances if in the hands of the well educated musician. The afore mentioned artists atest to that. So, again, other then having a well stocked display of "eye candy", what is gained by such a display? A large MOTM system would do the trick, or a large Serge, or Modcan system. But All of them? Of course, if one has an unlimited amount of disposable cash on hand, then why not, I guess. I get the impression that many choose to collect rather than seriously explore the possibilities that each and every instrument they own can produce. Just an observation and not meant to offend anyone......if so, I apologize. SCR
-----Original Message-----
From: Kenneth Elhardt <elhardt@...>
To: MOTM List <motm@yahoogroups.com>
Sent: Sun, 20 Apr 2008 12:03 pm
Subject: Re: [motm] Beermaster's synth
Paul Schreiber writes:
>>Lot's of MOTM going on there :)<<
And a lot of other stuff too. Too much stuff. And that looks like an
incomplete collection, as I know he also has a Polyfusion that I didn't see
in the video. Not sure what all of that's being used for, or if it's being
used.
-Elhardt