This YouTube video gives a good sense of it: It's a really interesting approach and very productive from a music and creativity standpoint. The Push is a very well-designed hardware instrument that, because of its tight integration with Ableton, has much of the flexibility of software. (I am incidentally a rather large fan of analogue and modular synthesizers and half built one in the late 1990s with 1970's electronic equipment, some of which I still own!)Ībleton Live in conjunction with the Push is a fantastic, very tactile, very musical solution to this. This will pass in time as the status quo is accepted for younger generations. Due to rapid progress in technology, people cling to the last thing they felt any physical connection with. This equipment does a lot of the real work while the new stuff is used for validation and traceable measurements only. The outcome, at least with electronics, is that you'll find a lot of 30-40 year old equipment nestling next to the state of the art with a sticker on it "for indication only".
Fract osc mac mouse problems update#
This results in semi-religious fighting over which update is the least shit and people refusing to accept updates because they fear them. There are so many features crammed in new devices, even if you manage to get enough controls for the basic cases on the front panel, a lot is still hidden in nested menus galore and they aren't necessarily sensible or discoverable or even work properly. This is the same for electronic test equipment as well. The phrases "menu" and "software update" are what kills all tactile electronic instruments of various kinds. It's also a great way to learn and get a taste for what's possible before committing money to buying any hardware.
Fract osc mac mouse problems software#
That said, modular synth software like this is still great, and may be the next best thing to using the real thing.
This extends to how it sounds as well, for the same reason.
With hardware you generally don't have to worry about software or OS updates, and the hardware generally continues to "just work" for a long time.Ī lot of uncommon analog hardware is very unlikely to ever be modeled in software, so the way it reacts when manipulated may never actually be matched in software (even when the potential to do so is in principle there if anyone ever bothered to create a high quality model of it in software). Hardware does exist through which musicians can interact with computers, but it's usually MIDI, which has its own limitations compared to fully analog gear. Hardware is much more hands on, with real dials, switches, and other means of physical interaction which screens and mice don't come close to matching. It has taken a bit longer for virtual instruments to meet this same standard, but they may be nearly there." "Digital audio workstations have become increasingly sophisticated, able to emulate with "plug-ins" the capabilities of sought-after analog studio gear of the past.