VSTi o Hardware?

Alguien escribió:

"As far as technology in music today, we always thought that it would become miniaturized over the years. In the 70s Herbie and I use to joke that someday we would make records on a laptop. Now Herbie's synth rig is a laptop, interface, two controllers and a Receptor and he often listens to multi-tracks masters on his laptop while traveling. It is nice to reflect and think that Herbie and I had some impact on helping bring that reality into existence. "
Bryan Bell
http://www.kvraudio.com/interviews/a-conversation-with-bryan-bell---stories-about-using-synthesizers-in-the-days-before-midi-and-long-before-plug-ins-18330

Alguien escribió:

"Writing software for modern computers is so much easier than for hardware devices because the tools are so much more refined. I far prefer software to hardware products and am known for hardware products only because I got into the game at a time when hardware was required to do what I wanted to do. But I love the idea that software represents a perfect heavenly ideal (in which there is no difference between an original and a copy) as opposed to the earthly world of imperfect hardware copies (in which each copy is slightly different and each may have unique problems to manufacture). I guess I'm a perfectionist at heart."


"Although a graphic knob on a plug-in's screen is more difficult to turn that a hardware knob, they do the same thing. I've learned which controls musicians want to adjust quickly and try to include these same controls in both cases. One thing I enjoyed in AdrenaLinn Sync v2 was creating the control panel, which is rendered in true 3D instead of using a set of Photoshop shading tricks as in other plug-ins. I think that when users see this beauty on the screen, it better invites them to discover the beauty that's inside."

Roger Linn

http://www.kvraudio.com/interviews/interview_with_roger_linn_15460

Alguien escribió:

Despues de estar fuera del mundo de las giras por un par de años, y explorar todas las nuevas tecnologias en software para crear musica, se convierte en una tarea terriblemente dificil, el visualizarse uno regresando a teclados basados en hardware, para trabajar giras en directo nuevamente. Yo continuo sin ser partidario del uso de computadoras, para el uso de Instrumentos Virtuales, por razones de estabilidad y confiabilidad, pero la verdad es que, la calidad y variedad que ofrecen los instrumentos virtuales, sobrepasa las alternativas en hardware de manera sorprendente, y hasta cierto punto, inimaginable.

Entonces, aparece Receptor, un sistema literalmente abierto y flexible, en el cual el usuario decide como quiere sonar, sin estar atado a los sonidos de ningun fabricante en particular. Sí, es una computadora, pero para musicos, la cual ha sido diseñada especificamente, aunque no particularmente, para el uso en directo. De igual manera, a gusto, en situaciones de estudio, la gente de MuseReseach ha salido con algo que merece seria consideracion en nuestro campo, siempre y cuando uno sea serio en cuanto a este!! El apoyo tecnico es nada menos que impecable, avances (updates) en el sistema operativo contantemente mejoran en funcionamiento y ofrecen nuevas alternativas (features), y nuevos plugins estan siendo adaptados continuamente.

Quien soy? Un simple musico como cualquier otro, el cual casualmente ha sucedido ser director de Ricky Martin por los ultimos diez años. Como uso Receptor? Cuatro de estos chicos son parte de nuestro arsenal para la gira, sirviendo diferentes funciones, incluyendo uno para el baterista, unos para el percusionista, y dos para mí. Aun cuando estas unidades ya estan sirviendo su debido proposito, creanlo o no, todos los dias continuo explorando y descubriendo nuevas maneras y opciones con estos. Mi guitarrista, David Cabrera, y mi tecnico de teclados y gurú tecnico, Michael Bernard, ya han comenzado a enamorarse de estas unidades tambien.

Que me queda por añadir? Solo decirle, directo al punto, hagase usted un gran favor, y vaya a ver un Receptor usted mismo, no crea una palabra de lo que he dicho, ponga sus manos en uno de estos chicos, y usted verá, y oirá, de que se trata toda mi exitación!!

Arturo Ortiz
Music Director for Ricky Martin

Alguien escribió:

"I've been using Receptors on the current Goo Goo Dolls tour and they've been fantastic. They run all the plug-ins that we need, they've been absolutely reliable, and they respond as fast as the hardware synths that they've replaced... only they sound a lot better!"

"Being able to use organs like B4 and symphonic libraries like East West Gold live has really enriched the GGD's sound, and being able to re-create sounds like the mutated pianos that were used on "Let Love In" has helped the band sound much more like the album, which everyone appreciates. Receptor has really changed the way I approach keyboards - it's the best of both worlds with none of the drawbacks!"

Korel Tunador
Keyboardist, guitarist, saxaphonist and singer with The Goo Goo Dolls

Alguien escribió:

"The Receptor is incredible. Keyboardists have been looking to use plug-ins in our everyday playing situations, and Receptor has come to our rescue! Whereas traditional synthesizers have limited our sonic options, the possibilities seem endless now with Receptor!"


Jeff Babko
Jimmy Kimmel Live

Alguien escribió:

"The Receptor is the ultimate plug-in host for the live environment. They're rock solid, hugely powerful and they sound great. I can think of no better recommendation than the fact that we programmed ours in rehearsals and over a hundred shows later, we haven't had to do any more than turn them on each day to get exactly what we want from them. No crashes, no USB cables, no spinning beach balls or hour-glasses, just rock solid gigging night after night."
Matthew Miller
Technical Manager, Coldplay

Alguien escribió:

"We love the Receptor and it's made our lives so much easier... Receptor has been a dream for us. Due to the logistics of how we tour, we need to have three identical sets of gear and the process of building three identical keyboard rigs has always been a serious obstacle for us. Originally I had envisioned replacing the racks of synths and samplers with a laptop. Not only was I concerned about how road-worthy one would be in the hostile environments we perform in, but also the cost was something to consider. Then I found the Receptor and it has changed our lives. I've replaced racks of keyboard modules and samplers with a two-space unit that does far more than the rack it replaced. Being able to take M-Tron and Kontakt on the road and using the new Z-Load Technology has allowed us to duplicate or sample the sounds we used on the albums with zero limitations!"

Billy Bush
Garbage

Alguien escribió:

"I started our tour using a Receptor for organ sounds and some samples we use live. We've since added another unit running Ivory for piano sounds, which is really nice. We're really pleased with our Receptors and Muse Research has amazing tech support; they actually pick up the phone when you have a question!"

Mark Hart, keyboardist and guitarist, Crowded House.

Alguien escribió:

"Our Receptor module is a crucial ingredient in the sounds we use... It provides unmatched performance, programming, and superior tone... Best of all, night after night, I can always depend on Receptor's reliability, consistency, and roadworthiness... A must have piece of hardware for any high performance keyboard rig!!!"

Eli Ward
Artist Tech / Keyboards & Programming, Alicia Keys

Alguien escribió:

"We've got a fairly complicated stage setup - we probably use more instruments than is good for us. Before we found the Receptor, we were depending on computers to create some of the sounds we wanted live, which made us all a little nervous. Now we can get the sounds we need and the instruments we want in a reliable, simple package."

William Butler
Keyboardist, Arcade Fire

Alguien escribió:

"We have to put a lot of faith in our gear every day, as well as when broadcasting live to 200 million viewers- the reliability of our Muse Receptors is without question. They were the primary devices we used in Roy Bittan's rig for the broadcast, and of course, they performed perfectly."

Marty Gelhaar
Roy Bittan's Keyboard Tech for Bruce Springsteen and the E-Street Band

Alguien escribió:

"Faced with the dilemma of buying a new computer I decided to take the Receptor route instead. No need for that 2nd computer, as Receptor takes care of all my soft synth needs and frees up my laptop to do its thing. Couple that with the live aspect of a keyboard and Receptor.... now I can do some major sound damage without getting a hernia."

Mike Levine
Keyboardist and Music Director, who has played with Michael Bolton, John Secada, Julio Iglesias, Raul Diblasio, Ricardo Montanier, Alejandro Fernandez, Olga Tanon, and recently as the MD of Sábado Gigante and Don Francisco Presenta.

Alguien escribió:

"The Receptor 2 Pro Max is an incredible piece of gear. If you are the serious musician this is a must have unit! The ability to use any of the plug in's and the sounds without slowing down your computer processor is absolutely amazing! Getting Receptor means I no longer have to bring a ton of keyboards to a session or a gig... just a controller and the Receptor. There it is!"

"With this unit, trust me, when my sounds are heard rather in the studio or at a gig people are blown away. Thank you Muse Research for the Receptor 2 Pro Max - you are the best!"

Nick Smith
Keyboardist, Composer, Arranger for Stanley Clarke, Stevie Wonder, Queen Latifah, Hubert Laws, Bonny Brunnel & Michele Polnareff

Alguien escribió:

"Being on the road with P!NK, playing arenas and festivals with audiences of over 100,000, I need to use the most hip sounding and reliable equipment available. The Muse Receptor is the best of these worlds. I finally found the missing link in my rig. Now, I can use all my favorite soft synths and plug-ins at live gigs without dragging around a laptop or desktop computer. With its unlimited expandability and roadworthiness, the Muse Receptor is truly the swiss-army knife of the modern synthesizer."

Adriana Balic
Keyboardist, P!NK

Alguien escribió:

"With Ivory installed in my Receptor, I have just the right piano sound."


Claude LeMay ("Mego")
Music Director for Celine Dione

Alguien escribió:

"It isn't often that you can step into the cutting edge frontier in the music business. I am convinced that the Muse Research Receptor has already changed the face of touring and playing live. I was looking for a product that provided the highest quality sound along with the largest palette of sonic colors available, all in a small, simple, flexible, accessible package."

"Eureka! I've found it!"

"The 2 rack-space Receptor allows me to use all my favorite VST instruments and effects. It lets me configure complex splits and layers, manage sample playback, and act as a digital mixer with analog inputs for my favorite traditional synth. It is, simply, the power of my studio in a portable live package. I absolutely could not do a show without the two Receptors that are in my rig. Anything less would be a giant step backwards!"

Terry Lawless
Programmer and keyboardist, U2

Alguien escribió:

My Receptor performs like a champ! I'm able to set up an entire gig at home, and I then fly to a gig with only a single rolling travel case that fits in the overhead compartment with me on the plane. Having access to all of my best piano, rhodes, wurly, and orchestra libraries on a live gig without having to bring a computer, interface, or external drive has really changed the game for me. Sprinkle in all the cool analog modeling synths and effects and its easy to see why no keyboard even comes close. At home in the studio, it has taken all the load of running soft synths and effects off of my computer. This is by far the most flexible and best sounding ax I have ever come across, and every day, it seems like I think of a new way to use it.

Ben Stivers
Keyboardist / music director, Matchbox 20, Ricky Martin, Bee Gees, Teddy Thompson, Groove Collective, Frank Colon, Chayanne, and Thalia.

Alguien escribió:

What gear did you use?

Emagic Logic Audio was the center of my work on the album. One of the reasons I was asked to join the pre production team was my Logic skills. I was also using a Novation Supernova and a Nord Micro Modular as sound sources. When we left the pre-production phase, everything was either recorded in Logic Audio, or running off these synths and an Akai S3200. Martin has a bunch of synths in his studio, and we used a Nord Lead (Paul was the Nord programming guru), Roland JV-2080, JP-8000, and JD-800 (Martin was the JD-800 programming guru), Minimoog, ARP 2600, Wasp Stinger (featured on the chorus of "Shine"), EMS AKS synthi (featured on 'The Dead of Night'), Jomox X-Base module, Quasimidi Rave-o-lution (on which we created the original mood for 'When the Body Speaks'), Korg MS2000, and others I may have forgotten. Guitars were recorded through the Line 6 Pod, which I enjoyed using with Emagic SoundDiver software. SoundDiver also played an important role in keeping track of everything. Microphones were largely Shure SM57 and B&K 4006. We also ran my Laptop with Native Instruments Absynth and Reaktor, Hyperprism, Logic Audio with Cycling 74 Pluggo and other VST plug-ins, including Waves Renaissance, plus Propellerhead Recycle, Bias Peak, Roxio Toast, etc. My MAQ 16/3 sequencer and Regelwerk were massively useful controllers. I was using native audio on Macs with VX pocket cards on the laptops and initially an AW8 card on an old beige &emdash; then, later, a MOTU 2408 on a G4. I used my Focusrite ISA 115HD feeding my Apogee AD500e, sometimes through my Focusrite ISA 131 compressor. So basically I had one or two recording chains only, usually on flying leads so I could pick up any sound from either Martin's AMEK desk or the Mackie 32-8s that we used in the live rooms of the studios we worked in later. This kept things simple, which I like. Mark Bell was also interested in, and comfortable with, this style of working, so in the production we set up a 56-channel Mackie with a G4 desktop running Logic, Mark's laptop running Steinberg Cubase with virtual synths (including TC Works Mercury and Waldorf Wave), and my laptop running whatever. In the control room we ran Digidesign Pro Tools on an Apogee AD8000 where Dave was recording vocals. Everything was word-synced. The output of my e fed the G4, Mark's laptop, his E-mu IV XTurbo sampler, and my laptop. Also hooked up was Mark's Akai MPC2000, my S3200, an MS2000, the Supernova, and Nord Modular. Work on the songs would vary from Mark working alone on the stereo output of his laptop to more conventional multi-channel setups depending on what we needed to be doing. We exchanged data between machines on Zip and CDs with sneakernet. Martin had a setup based around a laptop running Logic in the booth as well, so we had three work areas, reasonably isolated acoustically but with good visual contact. This enabled us to be fluid and try all kinds of things very easily; it was easy to offer and get perspective from different members of the production at any time.

Alguien escribió:

"Over the years I have tried loads of gear, obviously, and at present I am focusing on a reduced equipment set including:

Software

Logic Audio, Recycle, Metasynth, MESA, Peak, Rebirth, Pluggo, Hyperprism, SonicWorx (for their amazing Time Designer plug-in), SoundDiver, Reaktor, Reason, Mercury, PPG wave 2.v, Pro 52, B4, VB1, M-Tron. Waves Renaissance bundle.
Netscape, Eudora, Quickeys & Retrospect and Action Files are also in daily use of course
The Logic user group and daw-mac are also invaluable resources for me, as was Napster (what a great music library that was) and my BT Openworld ADSL connection

Hardware

Akai S3200, Novation SuperNova & BassStation & DrumStation, Nord Micromodular, Doepfer MAQ 16/3, Regelwerk and MS404 and the Pocket Control, and Roland TB606
Apogee 500e A/D, Focusrite ISA115HD & ISA 131(Rupert Neve versions) , TC Finalizer, B&K 4006 mics, Schoeps Collete series mics, Genelec 1029A monitors
Sherman Filterbank, Line6 POD, Roland RE501 Chorus Echo, Waldorf 4 pole filter
Apple G3 Powerbook, Digigram VX pocket, EMI 2/6, E-Magic Unitor II, and the wonderful MT4
My Soundcraft Spirit Folio Notepad is in (almost!) daily use
Palm Pilot is also a major part of my life and my Creative Nomad mp3 player & SONY CD walkman are great tools.

A800MKIII escribió:

La realidad es esta, y hay cientos de profesionales (con dinero y muy famosos , incluso aquellos que en los videos aparecen rodeados de murallas de sintetizadores analogicos ) que emplean todos los días VSTi junto a otros equipos en hardware , tanto en directo como en estudio sin problema alguno
Un saludo

OKTEK escribió:

Si el hard se pudiera piratear o costara lo mismo que el soft

ernestomartinez escribió:

Si, lo que cada uno quiera, estoy de acuerdo, pero cayó el mito de que el hard suena mejor, y creció la elección de sintes soft, innegable..

ernestomartinez escribió:

Si, lo que cada uno quiera, estoy de acuerdo, pero cayó el mito de que el hard suena mejor, y creció la elección de sintes soft, innegable

ernestomartinez escribió:

cayó el mito de que el hard suena mejor