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Vintage is cool. Because "digital virtual analogue" sounds kind of self contradictory. But "Vintage digital virtual analogue" all of a sudden sounds fat, silky, shimmering, and seems like it can cut through the mix. Some how, I think there's a subconscious link between "Vintage" and "Good".
And going off on a marketing gibberish theme...

What if there was a vst synth so vintage, that the program was itself sold on worn out data tape. And the tape was moldy and fucked up (analog distortion and saturation). It's fat, busted, vintage, and analogue. You play that thing back and it'll mess up your tape head.. and now you gotta go find a tape head cleaner.. wow, so analogue and vintage! Livin' the life of the 80's! Aww, you know what, the tape deck ate your tape.

Or a virtual analog strings synth with a usb dongle shaped in the exact shape of a violin, and you play the violin. Super authentic analog sound. Does any articulation you'd want it to. It sounds very real too.

Actually, speaking of vintage.. I think supercollider is truly a vintage synth in that the project is actually very old. So is csound. That that's true vintage. Old code, written by older men. Maybe we can make sound more modern and call it "sprClldr" (like tmblr or flckr), but that wouldn't be vintage would it.

Vintage synth code encoded onto an LP. Play it back on a record player, record it, and execute the binary. That's the whole analogue signal chain!

How about Arturia synths sold by a really, really old guy. Maybe that adds a bit more vintage to the synth. I think I can hear the difference, just that much more fatter.

Arturia ? Mouldy Tape ? USB Dongles ? Old men writing code ?

All those things you gotta pay for - but this -- this thang is 2 bucks .......
Now thats kinda cool !

lol, turn up the music?

kensuguro wrote:So is csound. That that's true vintage. Old code, written by older men. Maybe we can make sound more modern and call it "sprClldr" (like tmblr or flckr), but that wouldn't be vintage would it.

Actually csound continues to be developed and extended, though the pace of progress isn't as fast as it was in the mid-90's. The problem here is that even on modern machines a good portion of the 'fun' at the fringes of csound (the areas that remain less explored) are not realtime, ie, not included as much of the realtime csound libraries. I had a lot of fun making ambient textures in csound in the 90's, especially with sample transformations that you still don't see as much today. While there are tools like Camel Audio Alchemy, Crusher X, Granulab and etc they fall short of the complete control that csound offers, of course the tradeoff being that they give you a small # of algorithms with adjustable parameters that the developer sees beneficial for getting fast results. Csound is the opposite of this! Audiomulch, Max, PD and a few other tools come close in terms of depth but also share a similar issue with the speed of workflow (or lack thereof).

Anyway csound seems to me more of a bridge between scholastic/theoretical research (there's a LOT of open source code & school based projects that come up with interesting ideas but never achieve a very usable format for anyone but the original author of the code/tool) and commercial/open source software that's refined enough for everyday use. It was used a lot in schools in the past for this reason I believe, but has been mostly replaced by simpler & more accessible commercial software in most cases afaik.

Vintage synth vst to me would be: the vintage collection from Steinberg, Waldorf's plugin set (I think v2 is still delivered with a purchase of v3 in the same installer), NI Generator 1.x (still have my licensed copy somewhere though it's been ages since I installed it) and anything else that was around in the p2/p3 (PC) G3/G4 era and before.

huh, didn't think csound was all that active anymore. I had to use it for a class and it drove me insane.
oh yeah... waldorf vsts.. those are vintage.