You men­tion about know­ing the Sys­tem-100 well; is that some­thing we maybe miss out on nowa­days – that idea of re­ally get­ting to know what a synth/soft synth is ac­tu­ally ca­pa­ble of?

Future Music - - IN THE STUDIO WITH | VINCE CLARKE & PAUL HARTNOLL -

“You know why that is, don’t you? If you spend £1,000 on an ana­logue syn­the­sizer that’s a big in­vest­ment, whereas if you spend maybe £100 on a soft synth then you look at the pre­sets and think, ‘they’re quite good!’. Also, a lot of the soft synths, though not all of them, are quite dif­fi­cult to pro­gram. The rea­son they have a thou­sand pre­sets is that some­one has spent a lot of hours cre­at­ing them. It’s a bit like the DX7 back in the day… it was in­cred­i­bly dif­fi­cult to pro­gram and at the end of the day the pre­sets sounded much bet­ter than any­thing you could pos­si­bly do on your own.”

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