OP-1 field
teenage.engineering
teenage.engineering
That said, the sounds it ships with really leave something to be desired. My subjective opinion is that anyone who's played with a best in class software synth (i.e., equator2) is going to find themselves feeling pretty limited by the blippy tones that you get out of the box.
Sure, you can load up the sampler with tons of cool tones and op1.fun is a wonderful resource, but it's a lot of work to go curate a bunch of sounds to compensate for a lackluster palette.
I can already hear people saying that I'm missing the point and that the constraints are designed to inspire creativity, etc. I respect that point of view, but at the end of the day, my creative time is at a premium, and I'd like to use that time to create stuff that I'm proud to show friends and family.
Most of the stuff I produced with the OP-1 sounded like video game music or music for a kid's cartoon (i.e., Adventure Time). If that's your thing, then awesome! If not, I'd consider the core tonal possibilities before you make a big investment.
You could probably get an iPad, a USB midi dongle, a midi keyboard, and a whole suite of software for that, too.
(Which is totally valid if that what you want from your musical instruments)
People buy gear because they like a workflow and the UX/UI tactile choices a particular designer/ brand decided to highlight.
I love Elektron devices and I enjoy patching away on Eurorack. I'm pretty sure there's VSTS out there that will do 99.9% of the sound design I do with that gear, but then i'd be using an iPad or a laptop to do that... and that just completely kills the mood :/
People should (with in their means) obtain they musical instruments that allow them to create music :)
Despite both items serving fundamentally the same base purpose (getting from point A to point B for cars/motorcycles; making music for OP-1/your list), and one of them is cheaper overall and on paper has a lot of factual advantages, they might simply prioritize different things and both be extremely good at different things they prioritize. I, personally, love the workflow of the original OP-1 way more than almost the exact list you produced (because it used to be pretty much my setup, except I used a different midi controller).
The OP-1 if we're using motorcycle analogies is like a Zero. Really cool, new tech, quirky, doesn't use gas (a traditional DAW) but also comes with a bunch of limitations (can't load any of your normal synths into it, have to work around sampling) kind of like the limited range of electric motorcycles.
Totally fine if what you want is an electric bike for city commuting or short trips, until you want to go on a weekend trip or a track day. Now you're waiting on charging, and limited in power.
I think we've stretched this analogy far enough. I wouldn't call a laptop with an audio interface and Ableton a Honda Civic. OP-1 fills a niche, but it certainly isn't high end performance in terms of audio quality or malleability. They're really cool, creative, unique ways of making music if you like the interface, but ultimately a quirky niche in terms of actual production.
So I think it's a funny product that has a lot of 'nerd appeal' but at its heart it's a pretty powerful devices, maybe often miss-used.
Also - having played with both 'hardware' and VST's I do prefer VSTs because of the ease of use; aka you can reload a track in seconds in Live versus spending 30+ repatching your gear, swooping out gear, etc (and then it's still not quite the same, but that's part of the magic of 'real hardware' I suppose).
But at the end of the day the music I created with VST's versus real hardware wasn't different at all sonically so I am 100% in the camp of VSTs are awesome.
That said, you need to be careful selecting a VST.They go 'stale' and become a liability, so for example if I open up projects from 5+ years back, almost none of them work now. So going forward, I'm going to be more careful, and probably buy VST's only from companies I expect to be around for the long haul.
Just finished a verse and got halfway through a chorus on a 30 minute ferry ride and I didn’t even have to remember to bring anything but my phone.
It's funny, I kinda feel like this is what the OP1 was trying to be, or maybe what I wanted it to be, but this actually delivers on that promise. I want one: https://polyend.com/play/
https://glicol-tidal.netlify.app
The BPM can be changed in real-time and not limited to 4, 8, 16, 32 grids of sequences.
Because you are the target, people who like nice looking hip things and can afford it. That device doesn't do much, doesn't sound particularly good, and certainly is sold to you at a premium. No wonder these products are sold at the MOMA...
First, we're not talking about hardware in general but that TE device precisely and second "it sounds good" is really a matter of taste here, the synth engine is very limited and the first version didn't sound really good given its price. This is absolutely a hipster device, just like all TE products.
https://teenage.engineering/products/ob-4 650€ for a freaking radio?
Don't make it about hardware vs software, this red herring has nothing to do with my comment.
- https://www.elektronauts.com/t/new-op1-field/172653
- https://op-forums.com/t/new-op-1-field/21969
- https://old.reddit.com/r/OP1users/comments/unwdo9/op1_just_g...
Surprisingly, no thread at gearspace yet
Finally. After more than two years of development the OP-1 is now ready for production. Due to initial limited supply we now accept reservations. Manufacturing, assembly and shipping will be eight weeks.
$799
https://web.archive.org/web/20110201230202/http://namm.teena...
$2000 however is just too much for this. The Polyend Tracker sells for $500 used in comparison, and while its drastically different - is vaguely competitive to the OP-1.
I guess TE took advantage of demand for an established product and use it to subsidise their other lines and new development, which I can't see them selling much volume on for the most part (maybe Pocket Operators?).
So yeah, the $2000 price point will work great for them, given their customer demographics :)
The video shows me that OP-1 is a pretty cool all-in-one package, but it probably needs honing a special skill to work with it as smoothly as that guy does.
Professional musicians or even hobbyists prefer to buy several specialized devices that do one thing very well instead of having a very expensive device that can do a little bit of everything but with some limitations.
I’d never decide to use one for my needs, but it is common enough to find among many music makers.
On what planet is this actually worth $2000?
I'm really disappointed to see TE become this lifestyle company and continue jacking up their prices.
You pay for the brand and to say on Twitter that you use hardware
It's just most of the instruments I'm seeing, are essentially a bunch of knobs which can figure an internal computer.
I absolutely love synths, so I'll probably buy one of these.
TE always was a lifestyle company. All their products, including their gaming device, are about looking cool. Which is why device thinness is extremely important and the first thing they talk about. Just like Apple.
You don't buy a TE device to actually make music, you buy it to impress people about how creative you are, how you are not a pleb consumerist.
Obviously not everyone will think this is worth $2000, and there's definitely an element of status symbol there, but I've genuinely enjoyed owning one.
The fact that there are some cyclists which actually need a $20k bike doesn't mean that the majority of $20k bike buyers are not doing it just for status (the famed dentist cyclists).
I feel like at a $1999 price point, though, they've crossed into territory where their products are going to increasingly be seen as being only for rich people, and I think it's starting to hurt their credibility. The coverage of their new mixer on /r/synthesizers was overwhelmingly negative. It's like if Apple suddenly decided that going forward all their products would be gold plated and cost twice as much. If you make it too obvious that the point of the product is to flaunt wealth, then that detracts from it being just a product that's interesting, pleasant to use, and useful in some context.
They have a few products like the Studio Display which don't have many direct replacements but all of Apples mainstream products are just good value.
(though I like my Teenage Engineering PO-20, but a Novation Circuit works for my dabbling with sequencing).
> the thing I’m working with the most is the OP-1. It’s a sampler-based synthesizer, and I honestly think it’s the most important instrument that’s come into my life since I first picked up a guitar when I was 12 years old. I’m not exaggerating at all. I never leave the house without it. I don’t travel with the guitar anymore. I travel with just my OP-1. It’s been a big deal living with this thing. I love making music with it. I love traveling with it. I like using it as a writing extension. It’s a really special technology, essentially what a guitar is to me.
https://grantland.com/hollywood-prospectus/lost-in-the-world...
But the OP-1 is literally the only piece of music gear you can bring on an airplane and write a whole song.
Why has no one else figured that out? With all these groove boxes etc, why has no other music gear taken the step of being portable and all-in-one.
Show me another way to write a song in an airplane, and you can have my money.
It is literally not the only piece of music gear you can bring on a airplane and write a whole song...
Just a recent example, the Syntakt is very capable for writing full songs. So is other gear in the Elektron lineup, namely Digitakt.
Otherwise you also have (cheaper) gear like the Novation Circuit Tracks that can also do the same.
I mean, a cursory search for "portable grooveboxes" should have revealed a ton of results for you, that are able to do the same job as the OP-1 but for even as low as 1/4 of the price (the Circuit Tracks)
The Tracks is nice, but the synth engines are not fully accessible in the hw interface. At least the params are labeled now, trying to change sounds on my original was quite frustrating.
Yeah, not being able to 100% customize the synths on the Tracks is bothering me as well. Luckily, my workflow is usually two parts that I do separate. One for sound design (with the Tracks hooked up to the computer) and one for everything else. For that, it does just fine, although the UX could be better for editing the synths.
You can send your money directly to Apple.
Far better than the OP-1, by miles ..
See also the 1010music BlackBox:
https://1010music.com/product/blackbox
Easily set up on an airplane seat-table for production.
Definitely a killer workstation.
It's a nice groovebox but I don't think it really compares.
$2k is a steep price but there's a lot going on here that's not immediately obvious to a lot of folks.
I can't even imagine how WiFi or Bluetooth would be useful or desirable.
You can do quite a bit with audio on Deluge, as well. Run audio clips of unlimited length. Assign audio samples to kits.
Sequence as many tracks as you want for as long as you want.
Deluge has far fewer limitations than OP-1.
Deluge is a very, very fun device, very powerful and feature-rich, and far superior to the OP-1 in every single way. OP-1 is Ikea, Deluge is Henge.
I'm sure there's others, but it's true that the OP-1 offers an impressive feature set for portable production.
There are many things the OP-1 does that nothing else can do quite the same, but I wouldnt say thats one of them.
I could take a pen and some paper and write a whole song. Or take my laptop and write, record & mix a whole song. Or an iPad. Or the MPC as others have said, the Synthstrom Deluge... It's a fun toy, but not unique in that regard.
Apart from the several other great options mentioned in other replies, there’s also the Dirtywave M8. It, and the other tracker-style devices like the Polyend, actually make it much easier to write proper songs than the OP-1’s finnicky and unforgiving tape-based recording interface. (I own all these devices and have used them extensively.)
But if you are really serious about writing music on a plane just use a laptop and a modern DAW.
I have zero music talent or experience, so let me ask: Would there be something missing with a quality soft synth on iPad with GarageBand?
The hardware buttons, sure, but is it possible to write a "serious" song with such a setup (iPad, paid synth app)?
Physical knobs and buttons feel good, OP-1 also forces you to commit to specific audio and puts some limitations on yuu which may help with creativity.
You can create something amazing using just your phone. But to get skill to be able to do that, you likely need toys that keep you inspired and make you want to play all day.
The iPad's touch screen is usable, but its velocity sensitivity isn't nearly as good as a hardware keyboard.
The OP-1 is cool as hell, but realistically it's a £500 musical toy marked up to £2,000 simply because hipsters latched onto the design and marketing of it.
Assuming you mean without using a phone, computer, or a tablet:
Yamaha Reface DX ($400) + Korg SOS Recorder ($100) + TE PO-12 Rhythm ($60), and you not only have a portable studio, but a performer's rig.
I'm powering mine from a powerbank via a USB-to-12V adapter, it lasts forever on a charge.
I can busk with Reface DX alone (it's built-in speakers are loud enough for a quiet street). Throw in a mini-amp, and it's a band.
And it comes with an optional keytar strap too, so I cann sling it around my shoulder.
And it's the best FM synthesizer ever made. Worth it for the E-Piano patch and Final Countdown-like leads alone, but the real magic comes in realtime manipulation of sound (something you couldn't do with the clunky controls of DX-7).
Yeah, I don't know if it fits your "all-in-one" defitinion, but surely OP-1 doesn't fit mine: it's missing a proper keyboard (my main rig is Yamaha MX-88, and I still say that Reface DX's keyboard is great).
And with some creative application of electrical tape, the drum machine / field recorder just become upgrades for the Reface DX, giving yout the ultimate unit.
Many other grooveboxes are quite painful to use. Here I’d include the Korg Electribe which is terrible at inputting musical notes. Or the several trackers which look more like scientific calculators than musical instruments. My MPC live can run circles around most grooveboxes, the OP-1 included, but that’s because it’s a computer: quite a bit heavier, takes time to boot, requires you to manage projects and adjust many parameters.
The Model Cycles doesn’t have a battery. Can be powered by a portable one, but that makes it just a little bit awkward. Elektron did launch a handle battery but it tended to catch fire in rare circumstances :-) Elektron boxes are in general considered difficult to use, even if the results can be impressive.
The Novation Circuit doesn’t allow full editing of the synth parameters. The synth parts are more like preset editors. Expect having to manage them from a computer.
The Deluge has a cumbersome buying process, where one has to basically buy from the manufacturer (NZ I think). I actually can’t but it from my/any local store. In reviews I’ve read that the interface is not that user-friendly/immediate.
Then there’a the multi-device set-ups consisting of Volcas, Rolands, etc. These can be nice, but it requires wiring them up every time! If I had to wire together 3 devices before I could make music, I’d rather do something else personally.
And so on and so forth. The new OP-1 is overpriced though. Maybe at 1500€ this would make some sense, but at this price point most people would rather deal with the disadvantages of other devices or device combos.
I own a Model:Samples, the battery is just velcro attached to it. This is not awkward, it serves as a tilt stand which is actually nice.
The Deluge buying process involve adding to cart, pay. How different is it from anything else really?
We are talking about boarding a plane? How boot time of the MPC Live/One or a daw on a laptop is relevant?
Also, quite a great company support experience too.
BULLSHIT. There are tons of things the OP-1 DOES NOT DO that other devices listed here actually do. And frankly the OP-1 synth sound like crap, so it's not really inspiring for some of us musicians... when it comes to fun, that $2000 thing with a crappy sequencer is not fun to me.
Apart from...
* Laptop with your favourite DAW
* iPad with GarageBand or Android Tablet with Caustic
* I would put Novation Circuit in similar category though depends on your definition of whole song
* Synthstorm Deluge
* Digitakt Elektron?
* Some of the Roland grooveboxes and systems
* Some of the Akai APC/MPC or Native Instruments Machine? Not fully familiar with either but I thought e.g. Akai Live lets you do a full production
* Bunch of other stuff I'm sure I'm forgetting
I feel we are actually in a bonanza and cornucopia of portable music creation devices! And that's a good thing :). Heck even the Yamaha Reface is super portable, battery powered, real keyboard, lots of sounds, and you can hook it up to phone or a simple recorder/looper to make good stuff on the go. OP1 might be the smallest by some metrics, that may or may not be seen as a good thing.
* Kastle while $SONG == $DRONE
* Model::Samples while $SONG in @SAMPLES && isNotOnFire($BATTERY)
* !$BUDGET && PO-33
The app is simple and constrained and makes it easy to write down sketches.
Pencil and staff paper.
My email address is in my profile if you would genuinely like to send me your money.
Of course - it's all in software solution but it's pretty powerful actually. But it's more like a DAW or tracker style of things.
I have been looking at the Roland TR-6S or T-8 to go with a portable DJ kit like the Reloop Ready.
Laptops exist too. And also who is writing whole songs on the OP-1? A song needs to be bounced, mastered and uploaded which is gonna require another device.
An iPad running Korg Gadget is much, much more capable, though arguably not as hip and cool.
Why, anything else just can’t be done! It’s uncivilized!
I don't make much music, but I've been having a blast tinkering with it.
This is just false, the Korg Electribe 2/ Sampler, the AKAI MPC 500, the Roland SP404, the Roland MC101, the Novation Circuit and many other devices allow the creation of whole songs and can easily be brought into a plane because they run on internal battery.
> Why has no one else figured that out? With all these groove boxes etc, why has no other music gear taken the step of being portable and all-in-one.
These devices I listed might not do everything the OP-1 does, but the OP-1 doesn't do everything these devices do either. The OP-1 is hardly an all-in-one music device and certainly not the first portable groovebox that runs off battery power.
A Electribe 2/Sampler costs $300, not $2000.
> Show me another way to write a song in an airplane, and you can have my money.
Answer my comment and I'll share with you my email for payment details. Put your money where your mouth is.
yep... There's quiet a few :)
https://www.youtube.com/watch?v=E54uAhMBA1A
https://www.youtube.com/watch?v=9Q_d-rfzZPM
Note that the 1st video is from 2010.
Maybe those toys can be used as tools in some niche context, but as a non-musician I wouldn't know.
I'd love to see them selling a more general purpose pocket computer, with the same high quality design and even the hefty price tag.
A pocket computer made for hackers (the tinkering kind)
Two buttons, no peripherals, clearly a toy.
I loved playing with the one I have (I can't remember which it is off the top of my head). But it never became a major part of my music noodling workflow and now is collecting dust somewhere.
I do remember at some point that a friend got a different one and I was struck with jealousy over all the cool stuff it could do that mine didn't. Maybe it's time to check out a different one. Any recommendations?
When I was a kid I thought I'd be riding around in flying cars by now. The problem ended up surprising me: It's not that flying cars don't exist--they do. The problem is they cost a million dollars because every one is built by hand. So there's no way I'll ever own one.
I'd also like to have a portable synth with great sound, long battery life, a multitude of handy features, and excellent design. But it's the same surprising problem as the flying cars: The technology to build it exists but it costs 10x what I'd be comfortable paying.
I'd be okay paying 2x for the great design, but 10x just makes the thing a piece of wealth-signifying jewelry. Even if somebody gave me one, I'd never want anybody to know I had it.
Honestly, small MIDI controller and Cubasis on a phone, and you'll do everything the OP-1 can do and much more.
There is no putting a price on creativity. Sure, the competition can compete on specs and price, but they never seem to get me to want to turn them on like the OP-1.
Just my opinion of course. But it is already a classic at this point and is deserving of respect.
It's true that if you just compare the costs, it might be cheaper to go the software route. But I mainly make music to go away from the computer, as I spend a lot of my days programming on one already. And the ability of pulling me away from the computer you can't put a price on :)
Plus, fiddling with real knobs that affect the sound in real-time, having a keyboard with a heavy feel, being able to turn on the hardware and instantly be able to use it (no fucking around with forced updates) and the ability to mod your own hardware with just a solder-iron is just like really really fun.
But yes, on an objective scale, the OP-1 is not competitive.
If I had $2000 to throw around, I'd buy a Syntakt + Digitone/Digitakt instead and get a setup that could do whatever I want + more.
Yeah, I agree with that, which I thought my previous comment made clear, maybe I wasn't clear enough.
Like most synths, it seems so. Obviously not adjusted for the launch of the new "field" OP-1 yet, but locally (EU country) the OP-1 seems to go for about 700-1000 EUR second-hand. New one in stores here seems to still be 1100+ EUR (closest store to me lists it at ~1200 EUR new).
Meanwhile, the OP-1 was used on like 40% of all modern pop music production process.
I think the market is massively successful artists and they know they will pay.
I’d love to see a citation for that. Lots of artists use it for demos, and it’s a good live tool, but if you look at modern pop it’s being produced with soft synths or Sequentials, Rolands, Korgs, etc.
Citation needed, given how poorly its synthesizer engine sounds, I do not believe that the case one second. It's certainly hip among hobbyists though because praised by a bunch of youtube influencers...
To me your comment sounds like something you just made up entirely.
Also, good products.
Kind of. In my experience, design gets priority over things like usability and durability. My OP-Z is barely usable after a few years of owning it due to the (admittedly nice) material the chasis is made of. The buttons frequently double trig, the dials have popped out, and it's got a bit of a bend in it.
I also get some mis-trig issues on the pocket operators, though for the price I don't mind them as much. The original OP-1 didnt seem to have these issues at least.
That being said, I've never been able to fully replace my OP-Z with anything else on offer so yeh, they're innovative if nothing else.
Doesn't really seem to be hurting them, now, does it?
It's a beautiful piece of hardware from a design-first company and from all the reviews of the original it seems to be an excellent and unique music making machine, but at the price I'm just not sure who it's aimed at.
I'm not a musician but I've played the piano for a lot of my life. I'd love to experiment with making music and the original OP-1 looked like a lot of fun. I'd kept my eye on it and was thinking of pulling the trigger. At $1k+ though it was a total stretch for a non-professional. The new OP-1 at $2k+ is just ludicrous.
If you want to experiment you have everything you want on your laptop. There are many alternative cheaper solutions. It is somewhat unique and well thought-out. The fact that you were considering it at $1k just proves their point.
It's very interesting just looking at how they do it.
Dunno if I will get either one, or both. Either way, I do appreciate the direction they are going in. :-)
https://learningmusic.ableton.com
Or my work:
It also appears to have some recording facility, but not clear how to get audio into it - can't tell what ports it has. Is the recording feature just for sequencing internal sample and synth sounds?
Or... they highlight the new version now has a 2.4ghz antenna - do you stream audio in/out over bluetooth?
A little explanation of basically what it can do or how they imagine it being used would go a long way
Maybe they do need a FAQ with a basic Q&A format, though. e.g.
Why does it have antennas?
How do I record?
What do the knobs do?
How many instruments are included?
How do I transfer recordings to my computer or phone?
etc.
In terms of wired connectors, it has USB-C, line in and out sockets, and a 4-pole audio jack for headset or mic support. OP-1 also has its own mic built into the body as well.
The OP-1 is only for rich techies. Musicians don’t use it.
Are folks who enjoy making music & who have tried the OP-1?
The classic op1 doesn’t have one. Would increase my productivity dramatically.
And also, "undo" is mentioned nowhere, and since they add "new packaging" to their list of features, I think undo would be mentioned there if it had it. I've heard an equal amount of people praising the lack of undo, as berating the OP-1 for lacking one, so they surely would have added it if they wanted to.
> "They have the best designers, i feel like in the US we have no taste, i knew this couldn't be an American company." -- @iamricks
how about monome (https://monome.org/norns)?
@chaosprint
glicol is cool. another two interesting live coding languages are tidal (https://tidalcycles.org) and orca (https://100r.co/site/orca.html)
- NEW COLOR SCHEME
- DUAL VELCRO® BACK FASTENERS
- ERGONOMIC POWER SWITCH
- ULTRA-FIDELITY HEADPHONE OUTPUT
- NEW CUSTOM USB CABLE
- NEW FONT
- NEW METRONOME SOUND
- NEW PACKAGING
- QR CODE GUIDE LINK
I'm not gonna lie, I'm generally a teenage engineering fan (besides the price that is), but some of those features sounds like part of a comedy/sarcastic copy of the actual launch website.
- INTERNAL FM ANTENNA FOR BOTH RX AND TX
- BUILT-IN FM RADIO TRANSMISSION
- OB–4 COMPATIBLE USING FM TX OR WIRE
> ERGONOMIC POWER SWITCH
> NEW METRONOME SOUND
> NEW PACKAGING
> INCREASED TOMBOLA SIMULATION ACCURACY
It's nice to have a company that doesn't take themselves too seriously. How are people paying 2k for that though, I do not know.
I have been taking this project to different workshops and there will be more. The most unforgettable experience so far is that in one place the host can only provide old laptops that can hardly run Chrome smoothly. It really makes me think a lot afterwards. There are so many people excluded from music making due to the price tag.
On the one hand, it's exciting to see the exploration aestheticism, design and interaction. But on the other hand, we should really consider the democratisation of music tech.
If we really want to "democratize music tech" (whatever that means), then I think things like the Korg Volcas are much closer to achieving that. Cheaper than most computer hardware, very intuitive even for people who never touched a synth before, and hardware that is relatively easy to grok, even the insides of it. Easy to take apart as well.
The only thing missing from the Volcas would be a completely open source design both for the hardware and the firmware. That would get us much closer than a programming language for music could ever.
The problem with hardware is it's extremely difficult, or downright impossible, to save state.
On a physical modular synth, the only way to remember what you did is to write it down or (maybe) take pictures. On a virtual modular synth all you have to do is Save As.
I'm sure OP-1 can save its patches, but that doesn't address the problem of the whole chain, or backups.
As two examples of synths I own that can do this:
- Moog Sirin supports Program Change MIDI messages, so I save the state of the current settings via MIDI on my Octatrack, and can recall that same state whenever I want without touching the hardware of the Sirin
- Novation Summit allows you to save patches with your own name + putting it in a category. Recalling the same patch is a matter of turning the knob until you arrive there.
Not sure how you arrived to the conclusion that saving state is "extremely difficult, or downright impossible".
I was thinking about modular synths mostly, and patching cables (also: Volca Modular).
Yes, individual synths can save/export settings, but if you want to save a whole combination with different machines it's a big headache; whereas in a DAW it's so trivial you don't even think about it.
But ok, we are sliding into the "hardware vs software" debate, which won't be solved here or there, or ever.
Ah yeah, I don't use modular synths myself (and that reason is one of them, patching cables manually seems like a hassle).
> Yes, individual synths can save/export settings, but if you want to save a whole combination with different machines it's a big headache; whereas in a DAW it's so trivial you don't even think about it.
As mentioned earlier, Program Change MIDI messages solve this. I have about 10 hardware devices I use for music making, and all of them responds to Program Change messages. Everything is driven by the Octatrack, so changing the project/pattern on the Octatrack makes every device in my studio load the right patch instantly. Once you've setup the audio/MIDI routing with your hardware, it's actually pretty easy to use.
> But ok, we are sliding into the "hardware vs software" debate, which won't be solved here or there, or ever.
Agree :) For some, hardware is better, for others software is better. Truth is probably somewhere in-between and/or both depending on context.
MIDI controllers are great (and I even built a couple myself) to let one interact physically with an instrument. But I'm not sure I get the appeal of physical synths.
To each their own though. I'm not trying to convince anyone. I'm just saying the key to more music is not necessarily more physical objects; more software is also great.
Also, the way I design Glicol (graph-oritend live coding language) is actually against normal programming paradigms such as FP or OOP. I always let my students to hear and see how an audio node works. I would call it as an instrument-design perspective. This may also lower the learning bar.
And to compare programming languages with hardware tools, I can also mention the logic loop. For example, you can easily duplicate 100 oscillators in live coding but generally impossible to achieve with hardware synth.
This looks absolutely fantastic! Thanks for sharing.
Live coding in a VST (like this project https://www.osar.fr/protoplug/) would be the next thing?
> remember to play with line 14
On my screen, line numbers are almost invisible (.CodeMirror-linenumber #e0e2e5).
Glicol is also an audio library, so you can write VST plugin with Glicol: https://github.com/chaosprint/dattorro-vst-rs
About writing VSTs, does it require JUCE, etc.?
http://ernestmicklei.com/melrose/introduction_melrose/
Really cool project that lets you drive your DAW programmatically.
That way it would be possible to immediately start making music without having to learn the language first.