Op 26-2-2012 7:26, Ed Edwards schreef: > Three) (My bared neck, so you or anyone can cut it as you think appropriate ----) > Electronic musical synthesizers were/are/will be marketed very much like cars, having a predetermined sales life span by the upper level management. They sit around and decide how much power the unit will have, how much money they expect to make from it and how long they will distribute it for profit. They also predetermine when they will replace it with something \u201cbetter\u201d (designed to make them more money). The one flaw in your argument: synths are not cars. You'll need a new car because the old one becomes too expensive to maintain (I live on an island, so after ten years, I'm approaching that stage with my car), or because it has some desirable feature such as better safety, better fuel economy, or whatever. Crash a 1990 Volvo 960 (Volvo's are safe, right?) into a 2004 Renault Modus, and see what difference 15 years in engineering make. With computers, it's even worse. When I got my Athlon64 3500+ and Nvidia 6800 GT, they were the bees knees. (Well, there were slightly faster versions, but they were twice as expensive.) Nowadays, a low power Intel Atom CPU is faster than that Athlon. And you can't play anything recent (meaning, less than 7 years old) on that combination. You don't have that with synths. Sure, there will be synths with more features, but that doesn't make your 15 year old AN1x useless all of a sudden. And when it comes to age, let's have a look at the synthesis engine used in all Motifs, including the latest ones: AWM2. Do you know when it came available: in the TG55 from 1989. That's a whopping 23 years ago. Apparently, Yamaha don't think that it's old hat, so why should they think the same of the VA algorithm of the AN1x? Mind, I see where you're coming from, and for sure, manufacturers market and sell these units for a limited time, but they whole idea of upgrade cycles when it comes to synths is greatly exaggerated. - Peter
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Re: [AN1x] Re: Yamaha GX1
2012-02-26 by Peter Korsten
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