How will you know when you've acquired all the gear you need?

[adfielding]

But how's a gear head to know how to evaluate when their motivations or interests are wise or GAS symptomatic?

I think it depends on your approach. It's always nice to have new stuff to play around with, and that invites creativity - which is great! However, there's a certain point where I think it's easy to get bogged down in the intricacies of getting everything to play nicely together or become overwhelmed with the burden of choice. I'm not saying that everything has to be justified in a practical manner (sometimes it's nice to buy/own something because you've wanted it for a long time), but I do think the old adage of "perfection is achieved not when there is nothing left to add, but when there is nothing left to take away" sometimes applies to gear acquisitions.

For me, I realised I'm an in-the-box guy a few years back and sold my little toy hardware setup because I simply wasn't using it any more. I absolutely don't regret it at all - I had plenty of use out of it, and it had simply run its course with me. Anything I purchase now either has to invite creativity in a separate space, or work seamlessly (or as close to as possible) with my existing ITB approach. It's why I love stuff like Elektron's Overbridge and, on paper at least, Access's TI integration (though I've since switched to a different solution for the Virus). You get the benefits of having a hardware box, and it integrates easily in software.

On a totally unrelated note: I do think there's a weirdly performative/show-offy aspect with regard to public figures showing off new synths and stuff, which I'm sure has become much more prevalent over the past decade or so. It always upsets me to see someone showing off a fancy-pants modular setup with the most uninspired early-00s-VST-sounding stuff rather than taking the time to plan and really squeeze the best out of what they've got. Every time I'm curious about a new synth I'll invariably check it out on YouTube, only to see a bunch of folks making a bigger deal over the fact that they've got access to a particular synth rather than doing anything particularly interesting or good with it. That said, there ARE plenty of videos out there of people doing cool stuff with new gear - I guess what I'm saying is that I'm a bit of a moany arsehole.

[MrFigg]

But how's a gear head to know how to evaluate when their motivations or interests are wise or GAS symptomatic?

I think it depends on your approach. It's always nice to have new stuff to play around with, and that invites creativity - which is great! However, there's a certain point where I think it's easy to get bogged down in the intricacies of getting everything to play nicely together or become overwhelmed with the burden of choice. I'm not saying that everything has to be justified in a practical manner (sometimes it's nice to buy/own something because you've wanted it for a long time), but I do think the old adage of "perfection is achieved not when there is nothing left to add, but when there is nothing left to take away" sometimes applies to gear acquisitions.

For me, I realised I'm an in-the-box guy a few years back and sold my little toy hardware setup because I simply wasn't using it any more. I absolutely don't regret it at all - I had plenty of use out of it, and it had simply run its course with me. Anything I purchase now either has to invite creativity in a separate space, or work seamlessly (or as close to as possible) with my existing ITB approach. It's why I love stuff like Elektron's Overbridge and, on paper at least, Access's TI integration (though I've since switched to a different solution for the Virus). You get the benefits of having a hardware box, and it integrates easily in software.

On a totally unrelated note: I do think there's a weirdly performative/show-offy aspect with regard to public figures showing off new synths and stuff, which I'm sure has become much more prevalent over the past decade or so. It always upsets me to see someone showing off a fancy-pants modular setup with the most uninspired early-00s-VST-sounding stuff rather than taking the time to plan and really squeeze the best out of what they've got. Every time I'm curious about a new synth I'll invariably check it out on YouTube, only to see a bunch of folks making a bigger deal over the fact that they've got access to a particular synth rather than doing anything particularly interesting or good with it. That said, there ARE plenty of videos out there of people doing cool stuff with new gear - I guess what I'm saying is that I'm a bit of a moany arsehole.

You’ve got good taste in music at least.
Being a moany arsehole comes with age and is unavoidable. I’m going out on the balcony to shout at passers by.

[mimidancer]

But how's a gear head to know how to evaluate when their motivations or interests are wise or GAS symptomatic?

I think it depends on your approach. It's always nice to have new stuff to play around with, and that invites creativity - which is great! However, there's a certain point where I think it's easy to get bogged down in the intricacies of getting everything to play nicely together or become overwhelmed with the burden of choice. I'm not saying that everything has to be justified in a practical manner (sometimes it's nice to buy/own something because you've wanted it for a long time), but I do think the old adage of "perfection is achieved not when there is nothing left to add, but when there is nothing left to take away" sometimes applies to gear acquisitions.

For me, I realised I'm an in-the-box guy a few years back and sold my little toy hardware setup because I simply wasn't using it any more. I absolutely don't regret it at all - I had plenty of use out of it, and it had simply run its course with me. Anything I purchase now either has to invite creativity in a separate space, or work seamlessly (or as close to as possible) with my existing ITB approach. It's why I love stuff like Elektron's Overbridge and, on paper at least, Access's TI integration (though I've since switched to a different solution for the Virus). You get the benefits of having a hardware box, and it integrates easily in software.

On a totally unrelated note: I do think there's a weirdly performative/show-offy aspect with regard to public figures showing off new synths and stuff, which I'm sure has become much more prevalent over the past decade or so. It always upsets me to see someone showing off a fancy-pants modular setup with the most uninspired early-00s-VST-sounding stuff rather than taking the time to plan and really squeeze the best out of what they've got. Every time I'm curious about a new synth I'll invariably check it out on YouTube, only to see a bunch of folks making a bigger deal over the fact that they've got access to a particular synth rather than doing anything particularly interesting or good with it. That said, there ARE plenty of videos out there of people doing cool stuff with new gear - I guess what I'm saying is that I'm a bit of a moany arsehole.

I use both in-the-box and hardware solutions. The instruments both soft and hard are interdependent as everything in my setup is bound together in a monster of joy. So my D50 v can muck about in clouds on my eurorack. and I can use my Metroplix to play a bassline algorithm. Us humans tend to interact differently with different interfaces. So be it a step sequencer or a nice keybed variety makes it fun for me. But there is no universal perfect setup, only what is perfect for you. In or out of the box the most important thing in your studio is you and the music you create. Be well today.

[DJMaytag]

I don’t know, but I feel pretty close. I have a small list of things I want for my Eurorack setup, but other than that, I only lust for hardware that doesn’t make ANY sense for me to own (Oberheim OB-X8) and such purchases will NEVER happen.

[moalla]

I also struggle with GAS – vsts and racks are the worst, just because it so easy to get them and they are virtual so I don't have a space problem and my girlfriend can't blame me for buying more stuff cause she can't see that I get those lol

But you gotta reverse this question and instead of asking what you need ask what else or more can I get out of what I already have? How do I truly master what I have? How do I find new and creative ways to use it?

I've recently started watching this guy btw and he reminds me exactly why I don't need more stuff:

That´s the big thing, i was struggeling with myself to buy a elektron model samples of it´s capabilities, but yeah do i need it really, is it worth to buy a mono sampler without live sampling capabilities in 2022??? If i own enough money in the last time i had bought it, but now i bought a pretty cheap ipad air2 with logitech keys for 59€ used and audiokit l7 for it, today i got a fine usb powered 22 aoc e2251f display for 20€ and also the question do i need this stuff, maybe not also if my girlfriend knows how much i spend the last years for superfluous software stuff and oversized PA junk, she would ....

But okay okay i told her, when she saw my hunted RME interface in my GAS manner, this tiny box is needed for work wife....And yeah of course i said myself i could use my babyface together with the old ipad at work at breaks or to record our baby outside... . So it´s a thing of attitude to live with this GAS manner, and if there is a chance to get back some of the spended time/money than this is really welcome, otherwise it´s crazyness of an old guy, who is crazy to build his own musical live dream workspace....
And blew away the audience with powerfull speakers and synth sound like Disaster Area from Douglas Adams with concerts on death planets with A bombs


https://techblog.izotope.com/2015/09/16 ... ster-area/

So at the end most of us come to see, that simplicity and design of space and possibilities is the wise path, or not!
I sit arround two days ago with a friend and we talk about posibilities of music production, live setups with ipads, effects... at the end we were talking about virtual studios with 3D glasses and korg virtual... But what is music with glasses and virtual spaces in front of people at a stage...Daman Albarn is example of virtual perfection, but "musical perfection" we hear every day on popular fm channels is the death of real music.

The thing I slowly realize is, i need for shure a big amount of possibilities, but not the newest and most powerfull shit with to much functions, cause its nice to try out what could i do with my stuff (but please in stereo) and not to get lost in menudiving etc. and that brings us closer to the grail of enlightenment
And yes adfielding, i also sold unused stuff and musictoys the last months

[crimsonwarlock]

Over the May Madness sale, I trialed Predator RE, Vecto, RED70, Ivoks and Trancedent 2000. I didn't buy any of them. They are all very nice or even impressive in their own right, but none of them brought anything new or overly useful to my current rig. Here's my reasoning...

Predator RE is a pretty powerful beast, but at the end of the day, it is basically a 3 oscillator virtual analog. Between Thor, Viking 2, Europe, Algoritm, Expanse and a bunch of Skrock VA synths, I don't see Predator doing anything that I can't do with one of those. Going through the presets (lots of them), I didn't hear anything new or different, to what I already have. Predator RE also has a pretty powerful arpegiator, but any stack of players will run rings around it.

Vecto was actually on my wishlist. But after spending some more time with it, it became clear to me that I would use it only for some very specific vector-synth sounds. I'm convinced that if I bought it, it would instantly become one of my least used synths. It also made me realize that the vector-part of mixing oscillators over time can also be replicated with any synthesizer that has volume envelopes for each oscillator. It gave me a whole new appreciation of the Layers synths.

RED70, Ivoks and Trancedent, while all nice at some level, are pretty basic synths. I can do those sounds with almost any other VA synth. The special character that these seem to have, isn't special enough to me to buy them, and I'm pretty sure they would just add to my already existing analysis paralysis when choosing instruments for a track or simply never be used. Besides, if you had a MiniMoog (I have Legend ), would you really be lusting for a Trancedent 2000?

[DaveyG]

Over the May Madness sale, I trialed Predator RE, Vecto, RED70, Ivoks and Trancedent 2000. I didn't buy any of them. They are all very nice or even impressive in their own right, but none of them brought anything new or overly useful to my current rig. Here's my reasoning...

Predator RE is a pretty powerful beast, but at the end of the day, it is basically a 3 oscillator virtual analog. Between Thor, Viking 2, Europe, Algoritm, Expanse and a bunch of Skrock VA synths, I don't see Predator doing anything that I can't do with one of those. Going through the presets (lots of them), I didn't hear anything new or different, to what I already have. Predator RE also has a pretty powerful arpegiator, but any stack of players will run rings around it.

Vecto was actually on my wishlist. But after spending some more time with it, it became clear to me that I would use it only for some very specific vector-synth sounds. I'm convinced that if I bought it, it would instantly become one of my least used synths. It also made me realize that the vector-part of mixing oscillators over time can also be replicated with any synthesizer that has volume envelopes for each oscillator. It gave me a whole new appreciation of the Layers synths.

RED70, Ivoks and Trancedent, while all nice at some level, are pretty basic synths. I can do those sounds with almost any other VA synth. The special character that these seem to have, isn't special enough to me to buy them, and I'm pretty sure they would just add to my already existing analysis paralysis when choosing instruments for a track or simply never be used. Besides, if you had a MiniMoog (I have Legend ), would you really be lusting for a Trancedent 2000?

Yep, we're all guilty of owning too many similar synths. You can get a long way with any one synth if you take the time to learn it properly. If you have three synths that cover Subtractive, FM and Wavetable you can pretty much get all the way. But sometimes getting hold a new synth is something that inspires you more than a a similar one you already own so, as long as you can afford it then go for it. For me the best thing about Rob Papen's synths are that they come with thousands of presets (one of them has over 4000!) I've never been too proud to use a preset if it fits the song so randomly diving into that stuff is another way to find inspiration or punctuation. Almost everyone now owns more soft synths than they will ever truly master. I get lost with anything beyond subtractive synthesis but it doesn't stop me mashing the buttons and twiddling the knobs. Sometimes I even used both fists.

[MrFigg]

Over the May Madness sale, I trialed Predator RE, Vecto, RED70, Ivoks and Trancedent 2000. I didn't buy any of them. They are all very nice or even impressive in their own right, but none of them brought anything new or overly useful to my current rig. Here's my reasoning...

Predator RE is a pretty powerful beast, but at the end of the day, it is basically a 3 oscillator virtual analog. Between Thor, Viking 2, Europe, Algoritm, Expanse and a bunch of Skrock VA synths, I don't see Predator doing anything that I can't do with one of those. Going through the presets (lots of them), I didn't hear anything new or different, to what I already have. Predator RE also has a pretty powerful arpegiator, but any stack of players will run rings around it.

Vecto was actually on my wishlist. But after spending some more time with it, it became clear to me that I would use it only for some very specific vector-synth sounds. I'm convinced that if I bought it, it would instantly become one of my least used synths. It also made me realize that the vector-part of mixing oscillators over time can also be replicated with any synthesizer that has volume envelopes for each oscillator. It gave me a whole new appreciation of the Layers synths.

RED70, Ivoks and Trancedent, while all nice at some level, are pretty basic synths. I can do those sounds with almost any other VA synth. The special character that these seem to have, isn't special enough to me to buy them, and I'm pretty sure they would just add to my already existing analysis paralysis when choosing instruments for a track or simply never be used. Besides, if you had a MiniMoog (I have Legend ), would you really be lusting for a Trancedent 2000?

Yep, we're all guilty of owning too many similar synths. You can get a long way with any one synth if you take the time to learn it properly. If you have three synths that cover Subtractive, FM and Wavetable you can pretty much get all the way. But sometimes getting hold a new synth is something that inspires you more than a a similar one you already own so, as long as you can afford it then go for it. For me the best thing about Rob Papen's synths are that they come with thousands of presets (one of them has over 4000!) I've never been too proud to use a preset if it fits the song so randomly diving into that stuff is another way to find inspiration or punctuation. Almost everyone now owns more soft synths than they will ever truly master. I get lost with anything beyond subtractive synthesis but it doesn't stop me mashing the buttons and twiddling the knobs. Sometimes I even used both fists.

The amount of presets which come with RP devices is another thing which turns me off using them. As you say, thousands. Total jungle.

[MrFigg]

I think you know you’ve got all the gear you need when you go on Thomann GASed up and can’t find anything at all you want to buy. I am currently in that position.
Don’t know where I stand with plugins although I know I definitely don’t need any more.

[crimsonwarlock]

The amount of presets which come with RP devices is another thing which turns me off using them. As you say, thousands. Total jungle.

Agreed. I also use presets as a starting point, but looking through thousands of presets to find a starting point is nuts. Just init the patch will get me there faster.

I think you know you’ve got all the gear you need when you go on Thomann GASed up and can’t find anything at all you want to buy.

That is pretty much where I am when looking through the Reason shop.

[moalla]

The amount of presets which come with RP devices is another thing which turns me off using them. As you say, thousands. Total jungle.

Agreed. I also use presets as a starting point, but looking through thousands of presets to find a starting point is nuts. Just init the patch will get me there faster.

I think you know you’ve got all the gear you need when you go on Thomann GASed up and can’t find anything at all you want to buy.

That is pretty much where I am when looking through the Reason shop.

That‘s it there iss nothing really new and now if i tried the first time SynthOne by audiokit on ios the presets of this 1core resources eater blew me from the chair. Maybee I could buy Algorythm, but i own PX7 and Parsec2, so!?

The only hardware stuff i want is a stereo livesampling unit with a reasonable sequencer, so I waiting for polyend play, but I did not see any hardware synths who „"are powerfull as reason and affordable, the only I felt in love was korg Sv2

[crimsonwarlock]

Maybee I could buy Algorythm, but i own PX7 and Parsec2, so!?

I have PX7 for the specific DX7 sounds. Algoritm is more of a modular synth to me, and it can do many things that are impossible with PX7. Besides, I love synths with randomize functions, and Algoritm's is pretty good. The other way around is that Algoritm can do sounds that come close to PX7, but it lacks the more complex options of the DX7 engine, like the multi-stage envelopes and the keyboard scaling options.

Parsec is an entirely different beast to me, but YMMV.

[motuscott]

Sometimes I even used both fists.

Just wanna say, touche
I dunno how to put that acute thingy above the e. I'm so American

[Faastwalker]

It never ends! As long as new gear keeps appearing they'll be GAS for new gear for, as long as it's your thing. My way to deal with it is to keep things limited to say, one desk of gear. Out with the old, in with the new. I don't like having too much stuff. It just gets overwhelming and you end up not using things. But the GAS is ever present!

[RobC]

I only know two things:

I will definitely need at least one hardware analog synthesizer, preferably with keys and maybe a sampler synthesizer. Just because.

For studio, anything essential that's in the sweet spot, considering: price and value; high end professional quality (but not audiophile territory); with as raw, sterile sound as possible (I don't want any coloring when it comes to work).

A bonus:

Should I have money to waste in the future, maybe then I'd up the essential tools to end level professional gear - but even in that category, only in the sweet spot where the sound quality makes sufficient, audible difference, and the quality-control doesn't get overpriced.
That means, I'd consider 3000 EUR tools, but probably ignore 30000 EUR ones.

[Jac459]

Yep, we're all guilty of owning too many similar synths. You can get a long way with any one synth if you take the time to learn it properly. If you have three synths that cover Subtractive, FM and Wavetable you can pretty much get all the way. But sometimes getting hold a new synth is something that inspires you more than a a similar one you already own so, as long as you can afford it then go for it. For me the best thing about Rob Papen's synths are that they come with thousands of presets (one of them has over 4000!) I've never been too proud to use a preset if it fits the song so randomly diving into that stuff is another way to find inspiration or punctuation. Almost everyone now owns more soft synths than they will ever truly master. I get lost with anything beyond subtractive synthesis but it doesn't stop me mashing the buttons and twiddling the knobs. Sometimes I even used both fists.

The amount of presets which come with RP devices is another thing which turns me off using them. As you say, thousands. Total jungle.

Well, good quality presets is part of the thing you pay for when you buy a synth, like exode's presets with blamsoft.
But I agree, Rob papen synths have so many presets, it seems a daunting task to listen to all of them.

And the worst is most of them are good , so I feel guilty when I stop browsing, I always think that maybe the next one is the one which will sparkle an idea for a new track lol...

[GEran21]

"How will you know when you've acquired all the gear you need?"

When I can make all the sounds I need to make.

Last year, I made video about Virus Ti and Digitech RP360. When I was making mix I needed the drums machine. I bought it later.
Here you can listen to mix without drums. I thinks it could sound better If I bought the drums machine before.
MOD EDIT

YOUTUBE>>

[RobC]

I only know two things:

I will definitely need at least one hardware analog synthesizer, preferably with keys and maybe a sampler synthesizer. Just because.

For studio, anything essential that's in the sweet spot, considering: price and value; high end professional quality (but not audiophile territory); with as raw, sterile sound as possible (I don't want any coloring when it comes to work).

A bonus:

Should I have money to waste in the future, maybe then I'd up the essential tools to end level professional gear - but even in that category, only in the sweet spot where the sound quality makes sufficient, audible difference, and the quality-control doesn't get overpriced.
That means, I'd consider 3000 EUR tools, but probably ignore 30000 EUR ones.

Dear past self:

1. No, you don't.

2. I'm happy to let you know that you maxed out the audio quality when it comes to playback and your hearing. You reached the top end.

You also got the mic of your dreams, but now you have nothing to amplify and record with! x D

Hopefully, future-self will find the perfect mic preamp and ADC.

[motuscott]

Does it spark joy?

Try not to shoot the messenger

[BRIGGS]

"How will you know when you've acquired all the gear you need?"

When I can make all the sounds I need to make.

Last year, I made video about Virus Ti and Digitech RP360. When I was making mix I needed the drums machine. I bought it later.
Here you can listen to mix without drums. I thinks it could sound better If I bought the drums machine before.


YOUTUBE>>

Nice!

Yeah, you can always add drums later, unless they are the core sound.

This reminds me, that I need more Virus samples for Grain! thx!

[robussc]

After upgrading to a Focusrite 18i20 I have to admit that I have all the gear to satisfy my creative urges. It’s now down to my talent and time, no more excuses. The amount of musical firepower at my finger tips is incredible. I’m now trying to learn to aim it at the right target. Covering an album I musically aspire to has been a great learning exercise.

So yeah, I have all the gear I need, though I’ll confess to eyeing Synthesizer V… uh oh..

[robussc]

The amount of presets which come with RP devices is another thing which turns me off using them. As you say, thousands. Total jungle.

Well, good quality presets is part of the thing you pay for when you buy a synth, like exode's presets with blamsoft.
But I agree, Rob papen synths have so many presets, it seems a daunting task to listen to all of them.

And the worst is most of them are good , so I feel guilty when I stop browsing, I always think that maybe the next one is the one which will sparkle an idea for a new track lol...

I’ve been carefully going through all the presets for the (non-RP) synths I have: Reason, Arturia V-collection and UVI Vintage Vault and building a collection of preferred sounds. It’s quite daunting, but also rewarding as I now have a ton of sounds that I’m excited to return to, rather than looking for needles in haystacks, which is how it felt before.

[Neo]

But how's a gear head to know how to evaluate when their motivations or interests are wise or GAS symptomatic?

I think it depends on your approach....

For me, I realised I'm an in-the-box guy a few years back and sold my little toy hardware setup because I simply wasn't using it any more...

On a totally unrelated note: I do think there's a weirdly performative/show-offy aspect with regard to public figures showing off new synths and stuff, which I'm sure has become much more prevalent over the past decade or so. It always upsets me to see someone showing off a fancy-pants modular setup with the most uninspired early-00s-VST-sounding stuff rather than taking the time to plan and really squeeze the best out of what they've got. Every time I'm curious about a new synth I'll invariably check it out on YouTube, only to see a bunch of folks making a bigger deal over the fact that they've got access to a particular synth rather than doing anything particularly interesting or good with it. That said, there ARE plenty of videos out there of people doing cool stuff with new gear - I guess what I'm saying is that I'm a bit of a moany arsehole.

+1

Former hardware addict here lol.
These days I'm just waiting on that new "weapon"/"game changer" plugin that will make me a pro producer/sound engineer lol <Insert discount code here>
Lucky enough to go through the hardware phase in the early 90s. Sold off, or should i say literally gave away most of my gear..

1.png (304.39 KiB) Viewed 1112 times

[Jac459]

I’ve been carefully going through all the presets for the (non-RP) synths I have: Reason, Arturia V-collection and UVI Vintage Vault and building a collection of preferred sounds. It’s quite daunting, but also rewarding as I now have a ton of sounds that I’m excited to return to, rather than looking for needles in haystacks, which is how it felt before.

That's a limitation of the RRP (and many other synths), they don't use vst standards to publish their presets. So I have a list of global favourites in bitwig including for example the ones of Serum and a few others, but for the ones of reason, I need to go to their own browser.


I'd like them to support the ".vstpreset" format...

[Jac459]

+1

Former hardware addict here lol.
These days I'm just waiting on that new "weapon"/"game changer" plugin that will make me a pro producer/sound engineer lol <Insert discount code here>
Lucky enough to go through the hardware phase in the early 90s. Sold off, or should i say literally gave away most of my gear..

1.png

I think it is also depending of the genre.

If you are into rock or country or say, synthwave, you can build your studio and stay like that with minor upgrades.

If you are into electronic musics, the temptation to go to new synths with new features is big.
Electronic music has strongly used the progress of synthesis across the years, for a long long long time with subtractive synthesis and for example acid music being created only based on how the filter is opening.
Then there was sampling that was very much used in hip hop.

More recently wavetables and oscillators related innovations have been largely used. Then granular synthesis, then spectral synthesis which is currently changing a lot of things.
Then the capacity to modulate anything with anything, sometimes at audio rate level is new and crazy

Recently i discovered phase plant has wave tables for LFOs! How crazy is that?

Sure, innovation can be only in composing, but having new features/capabilities certainly help.