I can't add anything to the chat as far as Serge specific experience is
concerned. I once used my Fenix live but copped out by solely generating
noise and fm weirdness. Tunes or even being in tune was not a requirement.
But what about the original guys......back in the 70's.
Joe Zawinul took two 2600's on tour and recreated patches to match the album
sounds throughout the gig. I saw The Tubes a few times and Mike Cotton
extensively used the 2600 for bass patches, synth percussion, in fact all
kinds of sounds.
I think it has been documented* that the most widely recognised modular
user, Keith Emerson, did not use his Moog that much (live) and also
practised the pre patch method (in a Mini Moog stylee).
Anyway, this art of programming with one hand while vamping on a rhodes with
the other has been sadly lost!
CW
* See 'Vintage Synthesizers' by Mark Vail
concerned. I once used my Fenix live but copped out by solely generating
noise and fm weirdness. Tunes or even being in tune was not a requirement.
> The best idea is to build yourThis seems to be the consensus.
> patch in your own time, and then figure out a way to safely
> transport the instrument to your gig.
But what about the original guys......back in the 70's.
Joe Zawinul took two 2600's on tour and recreated patches to match the album
sounds throughout the gig. I saw The Tubes a few times and Mike Cotton
extensively used the 2600 for bass patches, synth percussion, in fact all
kinds of sounds.
I think it has been documented* that the most widely recognised modular
user, Keith Emerson, did not use his Moog that much (live) and also
practised the pre patch method (in a Mini Moog stylee).
Anyway, this art of programming with one hand while vamping on a rhodes with
the other has been sadly lost!
CW
* See 'Vintage Synthesizers' by Mark Vail