Jhon Shepherd

This is essential if you intend on doing your own mastering as it offers a limitless array of functionality, The only drawback is its extremely RAM intensive but that problem can be solved by rendering your project into a wav file after your mix down.

Since I started taking my production seriously under the Semmath moniker, I made the decision to try and create things on an original level because lets face it, With 1,000+ bedroom producers out there, It's even more challenging to do something to stand apart from everyone else. D-Blue Glitch is an amazing program once you begin to understand it's full capabilities, You can create an entire album with this plugin and have a sense of individualism that makes no two tracks exactly the same. I especially like it's ability to incorporate absurd time signatures.

NI Massive is an incredible and powerful VST that is only limited to ones imagination. I would recommend this along side any other NI Plugin.

I purchased this controller roughly 3 months ago at a fantastic price from reverb.com. As for functionality in Ableton (My current DAW for over a year now) is fantastic. It has a pretty solid weight to it and although the sliders and knobs feel a bit "Light" compared to most hardware synths I've had the opportunity to put through the ringer, Its hands down the most durable MIDI controller I've owned. I can understand that even after 10+ years this particular model still retains its value and rightfully so.

Like most things in regards to quality, They come at a price and Ableton 10 Standard/Suite is no exception. However, I am not feeling any buyers remorse in the least by working my way up to standard. For over a year now I've been using Ableton because after the FL Studio 12 update, I realized that I had a great run with it since day one but I had reached my limitations with the interface changing constantly, Initially I got 9 Live Lite when I purchased the Arturia minilab and realized that I spent years denying myself the simple things in production like a greater workflow dynamic. Even though its a software workstation, I cannot help but describe its dynamic workflow as tactile and with the ability to render audio to .wav as well as the linear/performance style interface, I don't think I will grow bored of this for some number of years, In fact I've still so much to learn.

I suppose it was just a matter of time before a software developer bridged the gap between the lush warmth of analog swells filling the room and the plasticity of algorithmic software synths, Arturia did this in spades. I was fortunate enough to check my email during the 2018 Black Friday sale and to my astonishment, They were offering the entire collection for the price of the Arp 2600 that I committed myself to. Now, I am not a mathmagician in any form or function but this was promising to be on the up and up. Since then in all honesty I've not really dived into the Buchla as I had anticipated, Rather I fell in amazment with the Yamaha CS-80 and on proper monitors sounds SICK AF.

You don't just go head over heels for the first one you see. I've had the opportunity through the years to purchase several different guitars at amazing prices however, If it doesn't resonate (See what I did there?) with me, I know myself well enough that I would have a 6 string collecting dust. Now that Is not to say that I am being a gear snob and I'm sure most pickers will agree that if it doesn't look tasty, You're not gonna eat it no matter how expensive or delicious it may be under that gommy exterior. The vintage sunburst is as beautiful as this guitar sounds.

Nothing about this synthesizer screams must have for most seasoned synth Jedi, And understandably so, Its probably the most bare bone of the DX synths available. But wait, before we file it as poop I just want to express that this is a critical piece of gear for those that are wanting a hands on experience to learn the dynamics of Frequency Modulated synthesizers. In this regard, less is indeed more while it may be just awkward enough to make you scratch your head, Its easy to recover and churn out some nice sounds without being overwhelmed (The DX7 for example.) Also, While not very inspiring from the sound bank, If you've the ability to clock it via MIDI from a 16 step sequencer, It can lead to inspirational creations. I paid $20 for it to a friend who found it in a dumpster. Stil my first real synth.

I admit that I wasn't exactly sure what to expect regarding the clarity and quality of the sound coming out of these monitors, But it stands to reason that the first impression of these were a lasting one. For the price, I would suggest these to new producers and aspiring engineers as a great starting point to build ones expectations of quality sound.

I'm not sure where to begin with expressing my love for this controller. Build quality is a good start, I am thoroughly impressed with Akai's attention paid to engineering solidly built controllers. With the APC40 MK1 you get 16 solid knobs seperated into two groups, One for track adjustments (panning, sends, ect) The second for device racks within ableton. It truly is a software controller that absolutely has the feel and structure of a hardware device.

I've been using this console for over a year now and I cannot think of one instance where I've been put in that position of experiencing any grounding issues or feedback from this console that wasn't the result of user error. Solid and highly recommended.

If Ableton 10 and the computer is the brains of my setup, This saucy device is the central nervous system. Being a standalone semi modular sequencer, This thing is center when I MIDI out of it to IN/Thru hardware devices from the analog Drumbrute drum machine to Romplers such as the E-MU Audity 2000. You have to almost go out of your way to make it sound bad.

A few months previous, I found myself stumbling into the Propellerhead software website Where I thought why not try this for 30 days and just steamroll as much music with it as possible. I did and realized since I incorporate hardware into my setup that in addition to being a beast of a DAW for the creative process, It works just as well as a visual aid in understanding hardware patching from and to multiple instruments on a software platform I am by no means a mathmagician but I do know that the double 10 combo of Ableton(master) Reason(rewire)=INFINITE FIRE!

This was my first piece of actual hardware that I purchased roughly three years ago(2016) I admit that my first impression left me wondering if this was what I wanted..The kicks when used in tandem will give you the boom damn near that of the Roland 808 but with the inclusion of the HP/LP filter this left no room for an overdrive that would have truly set the kicks off and I would probably never noticed that by looking at the pitch knob of the hats causes a tsunami of white noise...Turns out this was exactly the piece of gear that I was seeking, Because like anything worth doing takes time to develop methods that will far exceed your initial expectations of it. 5 STARS NO CONTEST!

I recently had the good luck to come across this rompler from a friend (THANKS DAVE!) at a very good price. I've always considered myself a knob kinda guy with synths and never even considered rack mounted sound modules as a means to expand my creative pallet. At this point in time while everyone is throwing themselves to wavetable synths, You can score any number of E-MU, Roland, Yamaha, ect.. for the $150-250, I've seen the Proteus Mk 1 go as cheap as 70-90 and fully functional. Very cool and can help you knock the dust out of any unused MIDI controller/sequencer you may have.

Korg did an amazing job with getting right on board with the birth of the Virtual Analog synths of the late 90s early 2000s. This thing competed with Nord and come out on top. I mean you've knobs, Virtual patches, multi oscillators and a decent sysex editor if you've the microkorg.

This thing has some very iconic 90s style bass/synth stabs. Its great as a module synced via MIDI Thru/IN for layering with other modules and equally cool as feeding MIDI out from a sequencer.

Why choose between an 808 or a 909 when you can have both in one unit that incorporates analog sound modelling in a single rack unit?! Controls and editing makes it feel like an actual analog drum synth in that knob control take priority over menu diving.

What this single rack mounted percussion module may lack on the front plate, Looks are deceiving when this thing starts pounding out crushing beats straight out of the internal circuitry and that airy reverb is already applied with no internal or external FX processing at all.

All you need is a sequencer, speakers and this thing.

I suppose to each their own, But I simply cannot understand why this DAW is not respected by some. The learning curve on this is very straight forward to the point that I began creating arrangements right away. I first started using FL Studio when I downloaded the fully functional demo of FL 3 all those years ago, And in doing so, I realized that I had no need for another daw so I made the purchase and I never looked back or even once had any major technical problem with the software. In terms of price and lifetime free updates it's simply amazing.

This was my first 49 key MIDI controller and its not a bad controller at all from what I remember. Though I wish I had not rid of it so quickly, Things worked themselves out and she is indeed in a good home.

This has always been a personal favorite of mine for the last few years. The sounds of this machine are highly expressive, Especially the string selections, They make for a good starting point in designing complex and haunting sounds.

Korg really knew what they were doing when they released the legacy collection, As for the FX plugins, There is really no need for anything additional once this purchase is made. Everything you could possibly want or need for from subtle reverb to destructive lo-fi.

As far as virtual modular synths go, This is hands down the greatest by far. I love how well it creates glitchy abstract sounds.