Analog / Digital Purists?

[Shaw]

Just curious if any of you guys are analog or digital "purists"?  What I mean is, is there anyone here who has/uses only analog or only digital synthesizers?

I'm not trying to fire up the old "analog vs digital" debate -- obviously if you have and use only one, you think that one is better suited to your needs.  But we don't need to debate the advantages of one over the other -- I think most people here are already well aware of those arguments.  And I don't assume that just because you may use only one doesn't mean that you don't see value in the other... like I said, "obviously if you have and use only one, you think that one is better suited to your needs" -- "better suited" doesn't mean objectively better.

Anyway, I'm having thoughts of going down one of these two paths, and wondering what others perspectives may be.

As always, thanks in advance.

[A Thousand Eyes]

I'll just take this time to talk about the three digital synth families I like. 

FM: DX7
Hybrid: PPG Wave
Sample (w/ analog filters): Emulator

I prefer their dirtiness and character to today's equivalents. 

[jg666]

I don’t actually care if a synth is analog or digital. If I like the sound and features of a synth then that is enough for me I’m not a professional musician, I’m 59, only work 2 days a week and have a certain amount of disposable income so choose to be what I believe Dave would call a ‘synth-head’ 

I just enjoy playing and making sounds... I even have a few apps on my iPad to play around with whilst watching the television.... it’s a good job I’m the only person in the house !!

[LPF83]

Just curious if any of you guys are analog or digital "purists"?  What I mean is, is there anyone here who has/uses only analog or only digital synthesizers?

I'm not trying to fire up the old "analog vs digital" debate -- obviously if you have and use only one, you think that one is better suited to your needs.  But we don't need to debate the advantages of one over the other -- I think most people here are already well aware of those arguments.  And I don't assume that just because you may use only one doesn't mean that you don't see value in the other... like I said, "obviously if you have and use only one, you think that one is better suited to your needs" -- "better suited" doesn't mean objectively better.

Anyway, I'm having thoughts of going down one of these two paths, and wondering what others perspectives may be.

As always, thanks in advance.

All of the hardware synths I currently use are analog, but that's not because I refuse to work with anything else or am a purist in the sense of the term most would use it.  In fact, the Minilogue XD becomes less analog the moment I decide to mix in a digital oscillator with the existing VCOs.  I'd love to have a Prophet 12 -- thought about buying a module, but then the P5 Rev 4 was announced, so there's a high likelihood that will be my next purchase.  My main constraints are physical space, time and money (not necessarily always in that order but the physical space constraint is the hardest to overcome).

The other issue is that digital synthesizers are pretty well represented as virtual instruments.  I mean for a virtual instrument to truly come close to hardware analog, HUGE amounts of CPU must be spent and they still don't sound the same.   When it comes to digital synths though, they are far more CPU efficient and don't sound much different as a plugin, so for that reason it's harder for me to justify spending much of my limited physical space/time/money on digital hardware synths.

[LoboLives]

It honestly boils down to the individual instrument for me. There are some synths where I go “This would have been perfect if the oscillators were digital.” and others where I say “Why didn’t they just use VCOs if they aren’t going to utilize all the capabilities of digital oscillators.” Etc.

For me it’s about sonic textures. One of my friends suggested to me. Dude, get a Prophet 5, ARP 2600 reissue (somehow), Oberheim Two Voice Pro and Moog Model D and it would be the perfect setup. I’m thinking to myself...that’s a lot of sawtooth and square waves. 

[Shaw]

It honestly boils down to the individual instrument for me. There are some synths where I go “This would have been perfect if the oscillators were digital.” and others where I say “Why didn’t they just use VCOs if they aren’t going to utilize all the capabilities of digital oscillators.” Etc.

For me it’s about sonic textures. One of my friends suggested to me. Dude, get a Prophet 5, ARP 2600 reissue (somehow), Oberheim Two Voice Pro and Moog Model D and it would be the perfect setup. I’m thinking to myself...that’s a lot of sawtooth and square waves.

I suppose “purists” is the wrong word; I really don’t want to imply snobbery or an idea that one is better.  But I imagine that there are synthesists out there who own and use either only analog synths or only digital synths solely for the reason that they like the sound of their personal preference better than the other.

I own excellent digital synths, but I always reach for an analogue when I’m going to record something. It’s organic, every note contains minute differences, and they just fit my style of music — classic rock, jazz rock, anything that sounds like Zappa could’ve inspired it...  My synth usage generally falls in one of 4 categories of sounds: 

• Basses
• Lead / Melody lines
• Pads
• Keyboards

... anyway, I’m talking/typing my way through this thought of whether I just want to just go all analog. 

... and yeah, Lobo, you should definitely just get a Prophet 5, ARP 2600, Oberheim TVP and Moog Model D.  You would never leave home again.

[A Thousand Eyes]

You would never leave home again.

Assuming he's out of the old-school hotel with weird electrical outlets...

Unless you're touring, there's plenty of free soft synths that are good enough. The reason for using digital to me comes down to bells, electronic basses, marimba, and vocals/choirs. Everything else I'd rather use analog.

[Shaw]

You would never leave home again.

Assuming he's out of the old-school hotel with weird electrical outlets...

Unless you're touring, there's plenty of free soft synths that are good enough. The reason for using digital to me comes down to bells, electronic basses, marimba, and vocals/choirs. Everything else I'd rather use analog.

Vocals & choirs for sure... but if I ever wanted to record that sound, I use Omnisphere... then run it through some outboard gear to “analogue it up” a little bit.

[LoboLives]

It honestly boils down to the individual instrument for me. There are some synths where I go “This would have been perfect if the oscillators were digital.” and others where I say “Why didn’t they just use VCOs if they aren’t going to utilize all the capabilities of digital oscillators.” Etc.

For me it’s about sonic textures. One of my friends suggested to me. Dude, get a Prophet 5, ARP 2600 reissue (somehow), Oberheim Two Voice Pro and Moog Model D and it would be the perfect setup. I’m thinking to myself...that’s a lot of sawtooth and square waves.

I suppose “purists” is the wrong word; I really don’t want to imply snobbery or an idea that one is better.  But I imagine that there are synthesists out there who own and use either only analog synths or only digital synths solely for the reason that they like the sound of their personal preference better than the other.

I own excellent digital synths, but I always reach for an analogue when I’m going to record something. It’s organic, every note contains minute differences, and they just fit my style of music — classic rock, jazz rock, anything that sounds like Zappa could’ve inspired it...  My synth usage generally falls in one of 4 categories of sounds: 

• Basses
• Lead / Melody lines
• Pads
• Keyboards

... anyway, I’m talking/typing my way through this thought of whether I just want to just go all analog. 

... and yeah, Lobo, you should definitely just get a Prophet 5, ARP 2600, Oberheim TVP and Moog Model D.  You would never leave home again.

And only record on reel to reel tape or direct to wax haha.

[Shaw]

It honestly boils down to the individual instrument for me. There are some synths where I go “This would have been perfect if the oscillators were digital.” and others where I say “Why didn’t they just use VCOs if they aren’t going to utilize all the capabilities of digital oscillators.” Etc.

For me it’s about sonic textures. One of my friends suggested to me. Dude, get a Prophet 5, ARP 2600 reissue (somehow), Oberheim Two Voice Pro and Moog Model D and it would be the perfect setup. I’m thinking to myself...that’s a lot of sawtooth and square waves.

I suppose “purists” is the wrong word; I really don’t want to imply snobbery or an idea that one is better.  But I imagine that there are synthesists out there who own and use either only analog synths or only digital synths solely for the reason that they like the sound of their personal preference better than the other.

I own excellent digital synths, but I always reach for an analogue when I’m going to record something. It’s organic, every note contains minute differences, and they just fit my style of music — classic rock, jazz rock, anything that sounds like Zappa could’ve inspired it...  My synth usage generally falls in one of 4 categories of sounds: 

• Basses
• Lead / Melody lines
• Pads
• Keyboards

... anyway, I’m talking/typing my way through this thought of whether I just want to just go all analog. 

... and yeah, Lobo, you should definitely just get a Prophet 5, ARP 2600, Oberheim TVP and Moog Model D.  You would never leave home again.

And only record on reel to reel tape or direct to wax haha.

Nope... that’s where I bow to modern conveniences.  I wish I had the resources to record to tape...
I am, however, thinking of recording an album and releasing it on vinyl.

[LoboLives]

It honestly boils down to the individual instrument for me. There are some synths where I go “This would have been perfect if the oscillators were digital.” and others where I say “Why didn’t they just use VCOs if they aren’t going to utilize all the capabilities of digital oscillators.” Etc.

For me it’s about sonic textures. One of my friends suggested to me. Dude, get a Prophet 5, ARP 2600 reissue (somehow), Oberheim Two Voice Pro and Moog Model D and it would be the perfect setup. I’m thinking to myself...that’s a lot of sawtooth and square waves.

I suppose “purists” is the wrong word; I really don’t want to imply snobbery or an idea that one is better.  But I imagine that there are synthesists out there who own and use either only analog synths or only digital synths solely for the reason that they like the sound of their personal preference better than the other.

I own excellent digital synths, but I always reach for an analogue when I’m going to record something. It’s organic, every note contains minute differences, and they just fit my style of music — classic rock, jazz rock, anything that sounds like Zappa could’ve inspired it...  My synth usage generally falls in one of 4 categories of sounds: 

• Basses
• Lead / Melody lines
• Pads
• Keyboards

... anyway, I’m talking/typing my way through this thought of whether I just want to just go all analog. 

... and yeah, Lobo, you should definitely just get a Prophet 5, ARP 2600, Oberheim TVP and Moog Model D.  You would never leave home again.

And only record on reel to reel tape or direct to wax haha.

Nope... that’s where I bow to modern conveniences.  I wish I had the resources to record to tape...
I am, however, thinking of recording an album and releasing it on vinyl.

Yeah that's fairly easier to manage than a reel to reel machine. I had a Teac 80-8 and I was looking into one of those Mara Machines.

https://maramachines.com/machines/#jh110

But the truth is I was in a death metal band and we were working on the Teac 80-8 and honestly we never got anything done. It was just so cumbersome and we were doing everything ourselves and it just ended up sounding like garbage because we didn't know how to work with the medium.

But I have been studying reel to reel recording and recording techniques so I've become more familiar with it.

That being said, I've been working on an album myself that I intend to release on vinyl (mostly just writing/doing some rough sketches/planning for the moment) and honestly....I might actually do it on reel to reel tape and then get it properly mastered.

I guess...for me it's the same way with films...my mindset is digital is excellent for commercial work/rough sketches/demos/ but when you are buckling down and actually investing into a full album with cover art and liner notes and possibly putting it on vinyl....then I'd go for recording to tape....much like how I'd go with shooting a movie on actual film. It's just an odd thought process but it just provides a discipline and focus to the project and gives it an importance rather than just something you recording on your computer in a weekend like everything else.

[jok3r]

For me it depends on the use case:

Going out to play cover (rock) music  --->  Mainly digital, because I have to play multisamples of real instruments (brass, strings, ...)... I add my Rev2 with Strymon effects, just for my personal feeling. But soundwise, my Kronos could handle that pretty much alone.

At home, doing my stuff (that never get's finished)  --->  Mainly analog... Rev2, PEAK (yeah, it's a hybrid, that's the reason why I wrote "mainly"), and an Arturia DrumBrute Impact (which I like very much... especially for the money it costs).

If I had to sell something, it would be the PEAK at the moment. I still love it very much... but it's the piece I use at least, as I explained a few days ago in another thread. And with the PolyBrute pre-ordered I would get completely analog at home then. I love the sounds of analog gear more than digital synth. But not because of sound quality or more or less warmth, or other typical arguments... it's just, that I don't have interest in fm, wavetable (besides some experiments, the feature I used at least on my PEAK) or other digital types of synthesis. This are simply not the sounds I'm interested in.

My recording is digital. I use a Scarlett 18i20 3rd Gen, which is all I need for my "hobby needs". I think I will get an OctoPre at some time, since I'm running short of inputs.

[Sacred Synthesis]

I'm about 3/4 of an analog purist, but I do like to add some digital pads as a sort of sonic spice. 

[Shaw]

I'm about 3/4 of an analog purist, but I do like to add some digital pads as a sort of sonic spice.

I was waiting for the “impure purist”.   

[Sacred Synthesis]

I'm about 3/4 of an analog purist, but I do like to add some digital pads as a sort of sonic spice.

I was waiting for the “impure purist”.   

I have fallen.  But the fraction should actually be adjusted to 9/10.  For me, digital synthesis is a passing mood, an odd exceptional hour.  I have many moments when I seriously consider going all-analog, of ridding my music room of all overtly digital sounds.  It's not impossible, and the thought brings a sudden bright ray of cheerfulness.  I'm only one instrument away from it.  If it weren't for the Poly Evolver's superb choir patch....

[Shaw]

It honestly boils down to the individual instrument for me. There are some synths where I go “This would have been perfect if the oscillators were digital.” and others where I say “Why didn’t they just use VCOs if they aren’t going to utilize all the capabilities of digital oscillators.” Etc.

For me it’s about sonic textures. One of my friends suggested to me. Dude, get a Prophet 5, ARP 2600 reissue (somehow), Oberheim Two Voice Pro and Moog Model D and it would be the perfect setup. I’m thinking to myself...that’s a lot of sawtooth and square waves.

I suppose “purists” is the wrong word; I really don’t want to imply snobbery or an idea that one is better.  But I imagine that there are synthesists out there who own and use either only analog synths or only digital synths solely for the reason that they like the sound of their personal preference better than the other.

I own excellent digital synths, but I always reach for an analogue when I’m going to record something. It’s organic, every note contains minute differences, and they just fit my style of music — classic rock, jazz rock, anything that sounds like Zappa could’ve inspired it...  My synth usage generally falls in one of 4 categories of sounds: 

• Basses
• Lead / Melody lines
• Pads
• Keyboards

... anyway, I’m talking/typing my way through this thought of whether I just want to just go all analog. 

... and yeah, Lobo, you should definitely just get a Prophet 5, ARP 2600, Oberheim TVP and Moog Model D.  You would never leave home again.

And only record on reel to reel tape or direct to wax haha.

Nope... that’s where I bow to modern conveniences.  I wish I had the resources to record to tape...
I am, however, thinking of recording an album and releasing it on vinyl.

Yeah that's fairly easier to manage than a reel to reel machine. I had a Teac 80-8 and I was looking into one of those Mara Machines.

https://maramachines.com/machines/#jh110

But the truth is I was in a death metal band and we were working on the Teac 80-8 and honestly we never got anything done. It was just so cumbersome and we were doing everything ourselves and it just ended up sounding like garbage because we didn't know how to work with the medium.

But I have been studying reel to reel recording and recording techniques so I've become more familiar with it.

That being said, I've been working on an album myself that I intend to release on vinyl (mostly just writing/doing some rough sketches/planning for the moment) and honestly....I might actually do it on reel to reel tape and then get it properly mastered.

I guess...for me it's the same way with films...my mindset is digital is excellent for commercial work/rough sketches/demos/ but when you are buckling down and actually investing into a full album with cover art and liner notes and possibly putting it on vinyl....then I'd go for recording to tape....much like how I'd go with shooting a movie on actual film. It's just an odd thought process but it just provides a discipline and focus to the project and gives it an importance rather than just something you recording on your computer in a weekend like everything else.

You could always record digital (for the editing convenience) and then bounce to tape... or if you have 500 series gear, the Neve 542 tape emulation is SUPERB.

[Shaw]

I'm about 3/4 of an analog purist, but I do like to add some digital pads as a sort of sonic spice.

I was waiting for the “impure purist”.   

I have fallen.  But the fraction should actually be adjusted to 9/10.  For me, digital synthesis is a passing mood, an odd exceptional hour.  I have many moments when I seriously consider going all-analog, of ridding my music room of all overtly digital sounds.  It's not impossible, and the thought brings a sudden bright ray of cheerfulness.  I'm only one instrument away from it.  If it weren't for the Poly Evolver's superb choir patch....

Yeah... I’m on the precipice of such a move myself.

[chysn]

If we're talking about oscillators here, the last digital oscillators I had belonged to a Desktop Evolver. Since then, I've had only analog modular oscillators, and a great many of those.

But now, the Pro 3's digital oscillator does what I wished the Evolver's did, and the Pro 3's analog oscillators and modulation matrix are what I wished the Mopho's were. So I'm about to embrace a hybrid instrument for the first time in five years.

[Sacred Synthesis]

My sense of digital oscillators and wave shapes is based on ten years with the Evolvers, a month with the Prophet 12, and a little recent experience with the Korg Minilogue XD.  Plus a thousand YouTube videos.  When in the thick of synthesis, I'm as enamored with digital tones as anyone.  I've carried on for years in praise of the PEK, including its aliasing, and have made many videos using it to the best of my improvisational ability.   But when I step back from all such music and consider the whole picture, and when I recall the Prophet '08 - its overall quality and the music I've made with it - a distinction consistently strikes me: namely, digital is harsh and analog is warm and smooth.  It's the lesson of my latter musical life and experience: digital is harsh and analog is warm and smooth.  After ten years of making this music, that's my conclusion.  As far as I can understand, it's not based on a prejudice or presumption, but on an honest assessment. 

The digital pads I've designed and used over the years have had their own sort of magic, but it's always been a harsh magic.  Whereas, whenever I've limited myself to the Prophet '08s, the sonic results have had a memorable gentleness, nobility, and sweetness about them, and with no edges.  Hence, I regularly indulge in a daydream in which I have nothing but pure analog instruments, and that all my fundamental tones are derived from that happy limited selection of sawtooth, pulse width, and triangle/sine. 

This has nothing to do with the old can-you-tell-an-analog-oscillator-from-a-digital-one? debate.  We've had that heated discussion/argument here more than enough times, and it's perfectly fruitless because it goes nowhere.  Besides, by now I know nearly all of your positions, and you know mine.  But this is not that argument.  I'm referring only to the overall effects the two different types of synthesis have on one musician. 

It's as if I'm not quite ready to do it yet, but for now, I will enjoy that daydream in the anticipation that possibly, some day, I'll have an all-analog music room and the harshness will have been removed.

[A Thousand Eyes]

I can tell you right now, the 08 can sound plenty harsh depending on how you dial it in. Whereas the purely digital synths I've dealt with these days can be plenty smooth and can even be sterile to a fault. However, if I had to point out the biggest difference, I'd say analog is without a doubt more three dimensional, as compared to pure digital. On the flip side, there's plenty of things digital synths can do that analog synths simply can not.

Sounds that fall under terms such as cold or warm can be equally beautiful both innately and more importantly depending on the musical context. Harshness can be desirable depending on if it's called for. Depending on the diversity of your pallet.