Quote:
Originally Posted by TweakHead
Why? Because they don't suck resources out of your main computer. Because they're instruments, with their own physical interface that's better and surely more inspiring then fiddling around with a mouse or controlling it with cheap plastic controller. Then, it's arguably better because it's a dedicated system that does not have to share its resources with the rest of the tasks a computer has to run under the hood.
The Nord Lead doesn't allow you to lock initial phase position for their oscillators, but let's remember that Virtual Analogue was first thought as a replacement for real analogue machines, giving you more polyphony and options then most of them, while still allowing you the same level of interaction with it! The last part is of course important, since they also appeal to live usage and they can easily beat any software synth on that department!
In the studio, something like the Virus can be thought of like a bread and butter thing. But you can also throw big fat poly sounds or unison patches to a mix without seeing the cpu meter go up a notch, while having perfect control to tweak when recording while you're at it - contributing to a more organic feel overall, that's the main advantage of hardware vs software btw (to my mind at least). Then, software synths are getting a lot better lately, but I still love the sound!
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There was a time when I could not quite get that "hardware tweaking" feel out of software, but these days with the quality of the knobs on the MK II Remote SL, and the ease of mapping each one to various controls (i.e. either just with MIDI learn or Automap, both work well), the overall feel of for example tweaking knobs on the Virus is replicated perfectly. In most respects it is actually better, because I am not limited by the physical placement of the knob on the unit (I can change where the knob is based on what type of piece I'm playing). Sitting right next to this of course is a true analog Leipzig with analog knobs (and a knob for every function), and the overall experience is actually better. On the MKII I have pots that feel as good as the pots on the Virus, or tactile knobs that are great too. Or, sliders if I want to use them for filters or the mixer.
More and more, I've come to believe that the functional gap between hardware and software was bridged a long time ago, but has since grown -- in the opposite direction. Software has surpassed hardware in a big way and hardware is struggling to catch up.
However, the limitations of hardware actually remain one of it's biggest selling points! Let me explain what I mean.
Since the early days of synths, there have always been limitations that the user of the synth must accept. Those limitations are what encouraged exploration of and experimentation of the instrument. They encouraged the user to spend so much time fiddling with the synth itself, so that after a few months the user ate/slept/breathed that particular synth's user interface (no matter how horrible) and could do things use it instinctively and effectively. When that bonding between hardware and user took place is when the really musically interesting stuff would happen.
So, that's one thing we kind of lose with software -- it's a little TOO good at times. It makes getting from point A to B so efficient, that the bonding process I mentioned above never gets the chance to occur.
I do get a "retro feeling" of bonding with my Leipzig-S for example -- it's so weird and quirky and has a mind of it's own as analog gear does, and sounds so great when it speaks it's mind. But these days are busy days, and I'm glad I have software to help achieve my goals where something like creating a substantial track with the Leipzig-S would require time I simply do not have anymore.