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to be honest, i don't know a lot about the vp9k.
sounds interesting. i agree with you that manufactures
should stop aiming at specific markets, but on
the other hand that is the thing which justifies their
r&d, etc.. surely the
"groove boxes" suck, because they give the sounds which are trendy
now, but in 2
years nobody will like them. the person who is behind the
machines and uses them is important.
some ppl use a sampler to make good rip-offs, some ppl to
brake musical limits. a good example
why the person is important is the classic tb303. when roland
launched it, it was meant for
one man bands. it should emulate or stand in the place of a
bass player (tb - transistor bass).
i never heard a pop band which uses the 303 as a bass
emulator.
gregor
on the sp-808: I didn't get
to know it, but was turned away by the high price when considering it's only
4 part multitimbral. At my admittedly superficial glance, it looked
decent for live improv, with its sliders and d-beam, but maybe that's just
what THEY want me to think.
How bout the VP9000, Roland's
new phrase sampler/time-pitch-groove-formant shifter? Super-pricey,
but perhaps kind of unique and novel. Aren't we all sick of the
current mainstream designs with the heavy emphasis on specialized
application for timely, trendy styles of music. I like dance music and
so on a LOT, but love open-endedness and cultural innovation much
more. It was these kinds of flexible designs that gave rise to the
interesting shift towards electronic-experimental-cerebral-yet-physical
music culture. But the companies seem to want to let marketing decide
on design, like so much of our culture, and they really are selling out the
future in favor of the present. I'm excited about my Nord Modular on
its way, for these reasons.
People also seem to criticize
the all-purposeness of things like the Triton or JV-2080, and so forth, but
the expense of the VP-9000 makes me wish it were more generally useful.
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