Hardware synths can be an exciting frontier for newer producers and an obsession for more seasoned veterans. But with the sheer amount of options, parameters, and functionality the world of hardware gear brings to a producer’s toolkit, it’s no wonder why many misconceptions and myths build up around the topic.
So to celebrate the release of his latest remix package on his own Systematic imprint, we decided to bring Marc Romboy on to debunk the most common misconceptions and myths about using hardware gear in the studio.
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Stream The Biggest Systematic Release In 5 Years Below
Originally made in collaboration with Stephan Bodzin, ‘Atlas’ has seen heavy support from some of the biggest names in the house, techno, and melodic worlds over the past year.
But in this release, Shall Ocin & ARTBAT put their signature flavor into a spectacular production. Any fans of Systematic will likely recognize the track from its heavy support from Bodzin, Romboy, and ARTBAT who have been heavily rinsing the track since last summer.
Buy Unknown Hardware Instead Of Popular Synths.
I’m running a streaming show called “Marotopia“ with Robert Babicz, and the community sometimes mentions how great it is to have and use iconic gear like the Roland TB 303, TR808, or TR 909.
On the one hand, this is true, but on the other hand, these tools are not the ones with which you can generate unheard fresh sounds.
Have a look on Reverb or eBay to get “unpopular gear.“ For example, the drum machines of Yamaha were cheap and unpopular for a long while and now they are one of the most popular brands after Legowelt championed them. It feels that nobody cared about them until recently, and the price reflected that.
There are so many cool and unique drum machines and synths that paying top dollar for a household name is no longer the best option. Do your research and find hardware nobody else uses, and you’ll have a much more unique sound.
Ready to explore the world of top-tier hardware synths? Dive into our comprehensive guide on Fantastic Hardware Synths for Making Massive Leads and Ear-Catching Hooks in Music Production and elevate your tracks with unmatched sonic brilliance.
Hardware Is Meant For Recording, Not Programming
The best way to create distinctive sounds, patterns, arpeggios, and grooves is to make jam sessions with your hardware. Even if you have an analog machine without a MIDI connection don´t worry and simply start your playback and jam with the machine. Don´t overthink, and try to reactivate your inner child. Press record and record what you play.
Be a scientist and experiment!
Do crazy things, add effects, and twiddle all knobs like someone who doesn’t know what they are for. Try to be as bad as possible for a while and record the session for a minimum of ten minutes.
To help you stay objective, have a break after the session and walk in the park or play table tennis with a friend to create a distance in your head. Even better, wait one day or one to two weeks.
After this period, you definitely have a particular separation to your recording. Afterward, listen to your session.
This moment is magical because you think: “Oh, was it me who played it?“ I call that the moment when you enter the record store where it feels like you’re listening to somebody else’s music that you produced yourself.
I’m sure you will find something outstanding you can use for your track.
Searching for cost-effective synths? Discover ‘Best Affordable Polysynths: 7 Hardware Synthesizers You Won’t Go Broke Over’ – start your synth journey here.
Create Chains Of Hardware Instead Of Relying On A Single Synth To Make You Sound Unique
Buying a TB 303, recording a pattern, and including it in your track is something every beginner can do and you can’t expect that you have eventually created something special.
A great workaround is to put other bits of hardware in between the sound source and your hard disk to manipulate the sound and make it unique.
Be creative; try different combinations of elements like a lousy old mixing desk you could buy used for 50 bucks or less, and use it to dynamically play with the equalizers or with the gain knob.
You can also use effects pedals for guitars or an old effect machine like the unique-sounding Ensoniq DP-4 or Alesis Quadraverb for old-school hall effects. The possibilities are infinite, comparable to Euro racks and modular systems and each thing you include has compounding results that help you sound more unique and exciting.
The sky’s the limit!
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Will Vance is a professional music producer who has been involved in the industry for the better part of a decade and has been the managing editor at Magnetic Magazine since mid-2022. In that time period, he has published thousands of articles on music production, industry think pieces and educational articles about the music industry. Over the last decade as a professional music producer, Will Vance has also ran multiple successful and highly respected record labels in the industry, including Where The Heart Is Records as well as having launched a new label with a focus on community through Magnetic Magazine. When not running these labels or producing his own music, Vance is likely writing for other top industry sites like Waves or the Hyperbits Masterclass or working on his upcoming book on mindfulness in music production. On the rare chance he's not thinking about music production, he's probably running a game of Dungeons and Dragons with his friends which he has been the dungeon master for for many years.
