>>48281123 I have a shit casio just sitting here would be cool if I could hook it up to my computer how do I go about that it has midi in and out in the back what plugs do I need do I need an audio interface I run ableton live btw
>>48284974 >>48284974 abl2 is by far the best (and abl3 is coming out soon), but surprisingly enough the 303 really has no accurate VST clone yet. abl2 comes closest, but lacks in the deep end and general warmth.
if you want a perfect clone get a ladyada x0xb0x. it's hardware, but it's the only 1:1 clone imo.
how do I go about using these VST's? http://bserrano.free.fr/Synths_Dionysos.html
I'm sorry for being new and dumb, i've used Synth 1 vst and psycle as DAW. its the first synth i've gotten to work and these other ones from the link look fun to me. What do I need to do to get these working and usable, do I need a better DAW?
>>48285127 If they're downloaded as a .vst file you should be able to load them into any old DAW, maybe try grabbing a free version of FL Studio and seeing if it works. If you do I can walk you through setting it up... not too hard
>>48285238 Don't get the super 37, it's not worth that much money for keyboard that isn't that great. If you want to get a keyboard controller that you can stick modules in for stupid money get a French connection
>>48285127 you first need a host application, a sequencer preferably (or you could simply use a VST wrapper which lets you just play the synth with a MIDI keyboard but won't let you sequence it, i.e. write songs.) A host would be in most cases what is commonly referred to as a DAW, or Digital Audio Workstation. Examples of DAW's are Ableton Live, Pro Tools, Logic, Cubase, Samplitude, Reaper, Fruity Loops aka FL Studio.
my recommendation would be to download the Ableton Live demo: https://www.ableton.com/en/trial/ or Reaper: http://www.reaper.fm/download.php
to use those synths, you need to find the VST plugin folder in whatever program you decide to use. Consult the manual or do a Google search to find out where the VST folder is located, I don't feel like going into detail posting the location for each program on Mac or Win. So you need to extract the .dll file into your VST folder and make sure the program scans it. The best way to be sure that the DAW has scanned the file is to restart it after installing/extracting the .dll into the VST folder. If there are any other files, such as presets or GUI components, make sure you put that stuff into the VST folder too, or the plugin might not run properly. It might sound complicated, but it's as easy as moving an MP3 file into a folder.
>>48285127 my advice, avoid FL Studio/Fruit Loops. People will not take you seriously if they know you are using it. Also, the sound quality of the audio engine on FL Studio is very subpar compared to just about every other DAW in my opinion.....and many plugins are found to have problems running properly on FL Studio. If there is ever a DAW that won't run a specific VST/VSTi plugin, 99% of the time it's FL Studio- most plugins work fine on just about every other DAW.
For beginners, I always recommend trying to use Ableton if at all possible. They have a free, fully functional demo on their site that works for 30 days. I won't get into endorsing any cracked stuff on here, that's up to you. You'll have no problem getting that info from just about anyone else. Reaper is a really good DAW now. It started off as a very powerful program, and has grown leaps and bounds. It is basically free. Technically, it is shareware, which means that if you use it for free after something like 60 days, a nag screen pops up for 4 seconds when you start the program. No big deal at all. Considering how fast it loads, the nag screen ends up taking less time than it takes most other DAW's to simply load. Reaper is a fully-fledged DAW, a MIDI sequencer, multitrack audio recorder, real-time FX processor, sample editor, etc. It does everything you would need it to do to write complete songs, from start to finish, completely within it's environment.
>>48285742 Does it hurt? To talk out of your ass, I mean.
You're just repeating memes about the audio engine of FL Studio being subpar, and there's no evidence backing those claims whatsoever; same goes for plugins having problems. Dude, if you don't know much about a subject, it's perfectly fine to not say a thing and people won't judge you for it, but you don't need to come here and spread bullshit just to stroke your e-peen.
Gee, butthurt much? I am surmising you are an FL Stufio user. My advice? Switch to something better, or, if you are totally happy with it, disregard any opinion that differs from your own. All it takes is a simple Google search to uncover near-infinite results stating that people are less-than-satisfied with the quality of FL Studio's output, both direct and exported. If you are a happy Fruity Loops user, then why do you care so much about what I think or write? Seriously.
>>48285811 I used FL Studio for years in the late 90's/early 2000's, among other things. It was a great novelty, very new and unique and fun. You could do a lot with it and it would run on ANY computer...I mean ANY computer. That was it's strongest point. You could write complete songs on Fruity Loops using an old ass 266 Mhz Pentium with, like 512 MB of RAM, even less! We would record our samples from our hardware synths into Sound Forge, edit the fuck out of them, and then arrange them in FL Studio. Over time, though, myself and many others began to notice that the sound quality SUCKED. FL Studio took great sounds and turned them to digital slush. The filters alone are so bad that they make the program virtually useless in my opinion. But, hey, like I said, if you're happy with it, then it shouldn't matter what I say, should it?
>>48285897 >>48285952 If you read the links, you'd realize these are newbies complaining about not liking default synth presets and samples. You're either trying to start shit with lies or just too dumb to do your own research.
Dismissing you as a troll, and warning other posters to not reply to you and report you should they come to the same conclusion. Which is not the same as announcing a report.
>>48285811 Unfortunately, I have come to realize that most of /mu/ are high-school age kids making music on the family computer on cracked versions of Fruity Loops, via ASIO4ALL, using the computer's piece-of-shit-built-in audio interface. I know you kids want so desperately to believe that you have a professional-grade set-up going there....but I'm telling you that you don't. If you are using FL Studio via the computer's built-in sound card, you are using a toy. I don't care if you have a crack of WAVES SSL EQ's and compressors....your setup is still a toy. It's hilarious, actually, visualizing you kids drooling over your cracked Waves VST's, thinking that you have bucked the system and you can take on the pro's now on your family computer. I can see you in the family computer room desperately trying to finish your latest creation while your sister beats on the door because you've run over into her allotted computer time by 15 minutes and she is furious. "Just another minute," you yell out, furiously dragging the mouse around and pounding away on the keyboard as you add a 32nd-note snare roll at the end of a measure. FL Studio on a PC using the built in audio is to a professional set-up what a cheap synth you buy at walmart is to a Prophet 5.
>>48286019 I get this. The problem here is the same problem one encounters over and over again when dealing with Millennials: they have no respect for those who have come before them, i.e. their "elders" They think they know everything because they have the internet. When someone like myself comes along and (foolishly) tries to offer some help and advice...they get reamed out and shat upon because what they have to say challenges some aspect of what these kids believe...in this case it's the common belief that running a cracked version of FL Studio with a bunch of cracked plugins on a computer is as good as anything you'll find in a professional studio. When I was young, I respected the old school heads in the music scene. I listened to what they had to say. I realized they had knowledge, wisdom and experience I lacked, and even a few words of advice from them could potentially hold a wealth of useful information that I could use. That reverence for the old school heads is completely lost on kids today, and that's why so many older heads are totally dismissive and don't care to help or offer guidance or advice of any sort. I have been making electronic music for over 20 years now. I know what I am talking about, definitely more than some 18 year old kid who just got into making music in the last year or two. Without older heads trying to share their knowledge, all you have is a huge echo chamber with a bunch of disposable, useless bullshit.
>>48286091 sure, Waves stuff is great....but it's useless if you are running it on a shit DAW like FL Studio using ASIO4ALL via the computer's built in audio interface, all played through some shitty computer speakers..... . It hilarious, actually, thinking of kids dong exactly this and thinking they are running a professional-grade studio out of the family computer room.....then arguing with people online who try to tell them that their set-up is a toy.
you know what....have fun kids. Fuck trying to help someone by answering their questions and offering advice. Have fun in your echo chamber here. Call me when you sign your multi-million dollar recording contract!
>>48286228 hmmm, so sure you are going to get some OBJECTIVE, UNBIASED INFORMATION from the website of the company that produces the software in question!
>>48286306 lastly, I'll repeat what I have said before. I am not trying to put anyone down or diss their music. I am saying NOTHING about your music, your actual creative output. I am talking about a program, and if it happens to be your program of choice, you should be mature enough to be able to distinguish the difference between criticism of said program and criticism of your music. On the contrary, I am trying to HELP by being blunt and completely honest. If you value your creative output, if you are serious about being a musician, then you deserve to have the best tools possible at your disposal, correct? WHy would you NOT want to use the best sounding program? It baffles me. I posted that I messed around with early incarnations of Fruity Loops when it first came out, but as soon as I realized that the sound quality was sub=par, and it was making my samples sound fucked up, I immediately dumped it and never used it again. That's how every artist should be. Use anything and everything you get your hands on, but if you realize that a specific tool is hindering your creative flow and evolution, you should not hesitate to rid yourself of it in a heartbeat. Don't be attached to the tools, they are like a finger pointing to the moon....don;t look at the finger or you'll miss all that heavenly glory. The focus should ALWAYS be on the music, not some bullshit brand loyalty to a company that puts out shitty products. I am dissing a computer program, not your music. Duh
>>48286393 never said I was great. Why would I post them here? Do you think am that stupid? Like the assholes present wouldn't just diss very track without even listening to a single note and then try to dox me follow me around online forever, posting dumb comments in my Soundcloud comments sections from here to eternity. SURE.....OK...DURRR....
to be honest, I am pretty much done using the internet to promote or present my music. It's a huge waste of time IMO. You need to go to a label or live promoters. I am and always have been focused on live performance and distribution of physical mediums such as cassette tapes. People have much more respect for your music if it is associated with an object, like vinyl and cassette. The cover art and inserts all have a huge effect on how people perceive your music, how they visualize it and the value they attribute to it. Posting shit on SoundCloud is pretty much a losing game at this point, IMO. Shit is so beyond oversaturated....Even the most talented artists with the most beautifully produced work gets lost in the shuffle and buried under the ever-growing mass off music on sites like land BandCamp. My 2 cents. Those sites work for some people, they just don't suit my purposes for my art any longer and I haven't posted shit online for, like, 2 years.
>>48285127 Oh yeah, I am assuming you are on a PC since those synths are for WIN only. Here is a VST host that will let you play them with a MIDI keyboard. This is just a basic VST host, you can play the plugin like a standalone, but no sequencing.
>>48286200 I've met people who've been making music for 15 years and still don't understand things like dynamic range and what the 'knee' knob on compressors do and don't think the release parameter has any effect
>I have been making electronic music for over 20 years now.
that's irrelevant until you actually show us your stuff
>>48286726 >the only vst clone worth using, I don't know about that, the Korg M1 VSTi is an actual improvement on the original and even with the same company that made abl2 you get ReDominator, which sounds like a clearer version of the Alpha Juno. In the latter case, you can load the actual sysex files on it, so you can test it out with the original programs easily.
>>48286641 throw your own parties. Find a venue, whether it is a bar, VFW, rec center, someone's basement, whatever....and start throwing regular events. Monthly, bi-weekly, weekly. Fuck relying on other people, because they aren't going to help you. You have to do it yourself. If you can find a bar that is into what you are trying to do, that's the best. Some joint where you know the owner or bartender or someone with clout who will let you do your thing and not get bent out of shape if you don't bring in a ton of alcohol sales on the first night. This is why house parties are always the preferred way to go in my opinion. You don't have to worry about making the owner happy by bringing in a ton of alcohol sales. Most bars will give you one shot. If you don't make them X amount of dollars the first night, you're done. You have got to have a crew of people who share the same or similar creative vision and ideals. Your crew is your backbone. Promotion duties are spread out among each member. The collective social network provides an audience. You can't do it alone. If you don't have your own crew, you're gonna end up latching on to someone else's, and they will stick you at the bottom of the pile. You won't get any good gigs, and what gigs you do play, you'll be supporting them by playing at the beginning or the end of the night when there is no one there.
>>48286642 >https://soundcloud.com/mailey I'm not here to push my stuff. I was simply trying to help some anon out by answering his question on what to do with a fucking VST .dll file. Not gonna happen so give it up. You can play Biff Tannen all you want with your "what's the matter, CHICKEN?" bullshit, but I'm not taking the b8 mang.
>>48287693 haha good catch. I should clarify. Fuck relying on strangers is what I should have said. They have no obligation to help you or your music career, and they won't. They will only use you to prop themselves up. You do need a team of people on your side, though. A crew. I should have been more clear on the difference between the two, people who are and aren't on your team. Good call.
>>48286641 in my opinion, posting music to sites like Soundcloud and Bandcamp are neat and all when you are just getting into making music. There is a sense of novelty there. After a few years, though, you are going to be less and less inclined to take something that took you HOURS to create and just throw it out there for free, with no expectation of monetary compensation or even recognition. I'm all for doing shit for the love. Artists need to learn to love themselves more and the broad concept of the music scene less. You have no obligation to the "scene." You are not obligated to take your sweat and blood and give it away. Your music is the fruit of your labor. You deserve, at the very least, recognition for having created it. Unless your use of these music streaming sites like Soundcloud and Bandcamp are part of a cohesive, developed promotional campaign, then simply posting every song as soon as you finish it is folly. You need to have a strategy.
>>48287786 haha, let me talk to you after even half a decade in the music scene and let's see what kind of attitude you have. The music scene/Industry is an ugly, fucked up world full of fucked up people. If you stick it out and stay in the game, you'll be sounding like me eventually. Trust me.
>>48287820 so, anyways....simply posting tracks to Soundcloud as soon as you finish them is a bad strategy. You then have to follow that with a campaign of basically SPAMMING various sites and social networks begging people to listen to your new song. "NEW TRACK UP! NEW TRACK UP! COMMENT, FAVORITE, SHARE....ALL FEEDBACK WELCOME!" You look like a sucker going that route, and it's so played out. There are literally MILLIONS of bedroom producers who are doing the same exact thing, all day, every day. 99.99999999999% of them get nowhere with it and the chances are, so will you. You have to play live to make it today, just like the old days. The little bubble of instant internet stardom has long ago burst. My advice is to refrain from posting tracks on Soundcloud when they are done. Save them. Build up a solid album's worth of material and then make some CD's and Cassette Tapes. YES, cassettes. They are very popular again with collectors, and they are a beautiful way to present your music with some art that you make or choose. A cassette is like a business card. Take your cassettes to local stores and events, send them to labels. Sell them if possible, give them away only when there is genuine interest. Dont just throw pearls to swine, don't give your music freely to assholes who can't and won't appreciate it. That can damage your relationship with your music. Avoid giving your music out to the general public, stick with a niche crowd of people who are into the style you create.
fucking daw hate making me lol The last obvious improvement in summing that I heard was RADAR and that was twenty fucking years ago. I'd challenge anyone to ABX output from DAWs and pick out your flavor from the rest.
I've been using cubase since the atari days and still do. FL came on the scene with amazing signal and control routings that are extremely easy to manage. That's still its strong point to this day. If you want a pattern-based sequencer, I can't think of a better one for PC. Live isn't one, so I'm not sure why people are forever comparing the two. It's its own paradigm, like the old loop samplers, SU700, boss sp, etc.
>>48287860 oh yes it is. Trust me. The music scene is full of backstabbing shit talkers who want an easy way out of the 9-5 rat race and will do whatever it takes to make a name for themselves, even if it means fucking over everyone who supported them on their rise to the top.
My final not on using Soundcloud and Bandcamp. Just uploading tunes on these sites without a solid strategy and spamming Twitter, FB, Tumblr, 4chan promoting your music results in people not taking you seriously, viewing you as an amateur and it diminished the perceived value of your creative output. You need to assign value to it, and the best way to do this is to NOT simply give it away to any to everyone, and to associate it with a physical object. People are materialistic and they like material objects. Having your music on vinyl, cassette or even CD gives it more value every day of the week than if it is simply another file on someone's hard drive or another track on Soundcloud.
>>48288007 you have a nice crew. Good for you. You can't sit there and tell me that the music scene is not basically shit and full of fucking narcissistic shitheads suffering from delusions of grandeur who stab each other in the back every chyance they get.
>>48288036 It's not, every local scene I've been in has been great. There's the occasional shitty promoter but they usually don't stick around too long. Maybe you should get a better outlook on life, like attracts like after all.
>>48288036 ehh in some scenes. back when i used to play in punk bands sure, there were tons of shit head lazy ass holes but once i branched into other stuff it really panned out. i think if youre in genres that know no one in the genre will ever be a millionaire off music alone because the genre will never have that wide a fan base people are more realistic. its more self contained and peer based so not really many people go after the spam asshole back stab approach because that would be insta suicide
Is there any way to convert CV to MIDI? I want to control a mono lancet with a microbrute, the lancet doesn't have CV in and the microbrute doesn't have MIDI out, but the micro has CV out and the lancet has MIDI in.
I did some googling and I keep getting the opposite (take a MIDI Out and turns it into a CV, like the Doepfer Dark Link). I need something that takes CV and turns it into a MIDI Out.
I'm the guy who asked the original question: Thank you for your answers. You're describing the exact same Internet-related problems that I am "suffering" from right now: As of now I only have released my first EP on Bandcamp which is for free/pay-what-you-want. I know what you're thinking, but these contain the first songs that I ever wrote and I want to make it like a "gateway drug" for my next songs that I am working on (and are better and maybe actually cost something).
Despite using them, I actually don't quite like Bandcamp and other services - but right now they are the only outlet for my music. I definitely know about selling an image as an artist and being charismatic and business-sense and blah, but I have no idea where other outlets are in my area. I wrote to a local, very small label (I know, kinda dumb without having contacts) but they haven't responded back, what a surprise. I think when I finish my newest track I will have to go out and search for live locations. I don't even have bros that I can play music with, so I guess it will be just me and my laptop karaoke machine. :<
BTW I fucking love cassettes, loved them since I was a child. Maybe it's time for a Special Cassette Edition of my EP.
>>48287973 maybe for the over saturated EDM scene, but there are techno labels who won't accept physical demos, m-nus for one.
You're not the only person with musical experience here. stop trying to impress us all, we don't care nor are impressed and the way you talk makes you sound like a literal douchebag.
We're all here to talk about synths and shit. not throw our egos around and make ourselves significant namefags and try to impress everyone by being an ass. And it's pretty clear you're not here to teach anything but instead you're here to try and make a point about yourself.
>associate it with a physical object. People are materialistic and they like material objects. Having your music on vinyl, cassette or even CD gives it more value every day of the week than if it is simply another file on someone's hard drive or another track on Soundcloud.
This is actually correct. I have a great video you all should really watch, pay special attention to the amount of money DubFX says he made selling CD's he burned himself in his van compared to what people left as donations while he was busking:
>>48288142 The only CV->MIDI I know of are in modular. You might want to consider a small 3U eurorack anyway. The lancet has a 'dock' in eurorack and the microbrute can really benefit from some milder filters.
Reposting my Ableton tape emulation thing for those who missed it.
Hey guys, here is an Ableton Live plugin I put together to simulate the effects of recording audio to stuff like VHS or reel-to-reel tapes. Download link at the bottom. It uses all stock Ableton 8 devices. It's designed to open up a lot of creative possibilities rather than to be historically accurate or representative of any particular device. It's good for adding an lo-fi grit to pads, leads, samples etc. Stylistically it sounds a bit like Boards of Canada et al.
The best way to use it is to throw it on some melodic source material and start turning the knobs up from zero to see how they affect the sound.
>Wow and Flutter and Tape Speed Adds a controllable level of pitch modulation to the incoming audio. This simulates the effect of a tape slowing down and speeding up, or a turntable warbling. This uses two Frequency Shifter effects to accomplish a subtle warping that changes over time. The top knob controls the intensity while the bottom knobs controls the speed.
>Tape Age Adds some distortion with a somewhat tape-like quality. This works in tandem with Tape Degen to add dirt to the sound.
>Tape Band Adds subtle filtering effects.
>Tape Spread Changes filter in stereo field to add some stereo width to the sound.
>Laserdisc and Betamax Creative delay and other effects. Disable these devices to get back more CPU power if you're not using them.
It's not actually a VST, rather a collection of Ableton stock plugins known in Ableton-world as an Effects Rack. I do create a lot of custom effects racks, but I don't usually polish them to the point where I would share them and expect other people to be able to figure them out. Any time you create a chain of effects you like, save it as a rack (Ctrl-G to group the effects and then drag it to your library). This saves tons of time that would be spent recreating the sound in the future.
Honestly, I'd be happy just making what I make as a waiter through busking, is that realistic at all? He said even without selling CD's he would usually make like $70-80 from donations in the hat or bucket or whatever.
What about the Crate Taxi? OP-1 is overpriced, no thanks. I plan on using a microbrute and mono lancet. Maybe even a double microbrute setup, idk, with some combination of delay/reverb fx (a Line 6 M9 maybe? M13 isn't really portable), and a drum machine of some sort (not sure which though).
>>48289310 you're not going to get nearly as much success as guitars busking because people aren't going to know how much work you're doing yourself, unless you set up an entire modular rack in the middle of the street average people aren't going to be nearly as impressed as they would a guitarist or whatever
>>48290141 so basically get something that is as impressive as possible, basically a modular but make sure you're able to make something that the average member of the public is going to appreciate so get something with 3 oscillators, make pads and make sure your patches have as much crazy looking patch cables as possible
Review of Blofeld: Modern sound monster. Lots of modulation/FM options and cool distortion/bitcrushing. Not hard to edit at all. Nice sounds, especially for pads.
Pulse 2: Awesome for the price. Lots of modulation options, too. LFOs can go way high into the audible range. Beautiful sound, when you have analog, DCOs/VCOs won't make a difference. Can sound harsh in a good way or creamy-smooth. Editing is easy, too (although the screen displays a giant patch number all the time, which is annoying) and it can
If you like the sound, get it. But IDK, the Pulse 2 has much more to offer (for me, personally), and I'm getting sick of budget monosynths (had the Microbrute for a few months). Might as well buy some SERIOUS SHIT
Do you /really/ mean "DCO master race", isn't "FM master race" a bit more appropriate. Jesus christ, yes they are "digitally controlled oscillators", but its hardly the same thing as a fucking Alpha Juno, which I humbly believe, is a much more accurate context for use of the term "DCO".
>>48293087 he's obviously just pissed at how accessible electronic music has become at a price of quality assurance. he's probably also pissed that he's an old man now and wants to be treated like a king because he made some music with synths before it was easily accessible.
it's just some old faggot coming to a board filled with younger guys who don't give a fuck. he belongs on gearslutz
He acts/talks a lot like the older music/audio guys i've come across. But it's also strange to think how similar a 13 year old and a 40 something shit talk on the internet. either way he's really insecure and needs to take his "kids these days" bullshit somewhere else.
>>48293345 I see where you come from because I learned a lot from guys like that IRL, but no one who is serious about this line of business would believe the "inferior audio engine" rumor. It's a meme at best, and taking hearsay as fact is pretty ironic considering sharp ears is all we're good for.
>>48293439 Yeah I agree. the old boys are just know it alls who might have not retained any information about new technologies past 2008. Or they will take anything their old 40 something friends say as fact, like the inferior audio engine shit. But they are all just slow and incompetent
>>48293509 >the we'll become old and slow, and think that painstakingly programming music in our 30 year old DAWs is superior to brain scanning technology that let's us create whatever music we can imagine, realtime
>>48293823 They're not worse or better than VCOs, but they do respond different. They track amplitude different, have much lower signal levels, and am involve different types of waveshaping. They also respond different to audio frequency modulation. Even different types of VCOs are like that.
>>48284720 sorry for late reply but would this work? http://www.amazon.com/EMU-XMIDI-1X1-MIDI-Interface/dp/B000JLU26W/ref=pd_cp_MI_0 I just want to use it as a controller I don't want to use any of the sounds off of the keyboard
>>48294264 Absolutely. When you start to use them, it becomes apparent the difference in quality of the DAC between it and the one in your computer. Plus having preamps is super useful. They're not fancy and they don't seem interesting, but the most utilitarian things don't seem that interesting.
>>48294588 it will give you higher quality audio recordings and better sounding outputs, and there might be processing on your computers audio out (compression and EQ) so it will give you a more accurate sounding output, and even if not it will still sound much better.
just look for anything that has a lot of knobs and sliders. You don't want something like a MicroKorg because the matrix editing will put you off synths forerver. You want something where all the controls are just there and you can get straight into it. Something like an SH-101 but not an SH-101 because they're so damn overpriced now.
>>48298605 "You just gotta love the Microkorg, small, lightweight but incredible powerfull. Playerhaters that hate on this thing are just dumb and probably never programmed a synthesizer in their lives and just play the stupid presets, which are by all means really awfull. The sound is somewhere between the old Korg Poly 800 and a Jupiter 8 (yeah a Jupiter 8 yes basicly because you can arpeggiate the *$#*% out of everything in all directions). I have a bunch of these lying around they are all battered and f*cked up from playing live gigs with them over the years, but somehow they still work. Its a pretty advanced V.A (virtual analog) synthesizer with the basic analog waveforms and a dozen or so more exotic waves from the old KORG DW8000 synthesizer, multimode filter, the usual LFO's and envelopes, some cool FX and a pretty decent vocoder." - legowelt
>>48302847 >teen synth chat If I was a teen, I'd be praising an 11 year old VA. The only thing you've ever managed to talk about it is that it's portable and cheap. God forbid that it would ever sound good. At least you're good at straw manning and dancing around the issue.
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