jmtd → log → synths → Why hardware synths?
Russell wrote a great comment on my last post (thanks!):
What benefits do these things offer when a general purpose computer can do so many things nowadays? Is there a USB keyboard that you can connect to a laptop or phone to do these things? I presume that all recent phones have the compute power to do all the synthesis you need if you have the right software. Is it just a lack of software and infrastructure for doing it on laptops/phones that makes synthesisers still viable?
I've decided to turn my response into a post of its own.
The issue is definitely not compute power. You can indeed attach a USB keyboard to a computer and use a plethora of software synthesisers, including very faithful emulations of all the popular classics. The raw compute power of modern hardware synths is comparatively small: I’ve been told the modern Korg digital synths are on a par with a raspberry pi. I’ve seen some DSPs which are 32 bit ARMs, and other tools which are roughly equivalent to arduinos.
I can think of four reasons hardware synths remain popular with some despite the above:
As I touched on in my original synth post, computing dominates my life outside of music already. I really wanted something separate from that to keep mental distance from work.
Synths have hard real-time requirements. They don't have raw power in compute terms, but they absolutely have to do their job within microseconds of being instructed to, with no exceptions. Linux still has a long way to go for hard real-time.
The Linux audio ecosystem is… complex. Dealing with pipewire, pulseaudio, jack, alsa, oss, and anything else I've forgotten, as well as their failure modes, is too time consuming.
The last point is to do with creativity and inspiration. A good synth is more than the sum of its parts: it's an instrument, carefully designed and its components integrated by musically-minded people who have set out to create something to inspire. There are plenty of synths which aren't good instruments, but have loads of features: they’re boxes of "stuff". Good synths can't do it all: they often have limitations which you have to respond to, work around or with, creatively. This was expressed better than I could by Trent Reznor in the video archetype of a synthesiser:
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