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Musicians are notorious for fetishising gear ownership. Old synthesizers routinely sell for five or sometimes six figures. Some of the buyers are talent-free collectors, others are industry successes who have the cash to spare and both collect and use them.

Post your beat made on a $100 commodity synth, and everyone will be "Good effort.." no matter how good it is.

Writing on social media is a lifestyle activity. You'll see endless reels showing "My cute working space", which inevitably has trailing plants and a lovely perfectly arranged bookshelf, probably with fairy lights, and never looks like anyone's random messy office.

And so on.

These are both promotional activities that signify belonging to cultures that allow you to buy a lifestyle identity by spending money on the appropriate gang signs and uploading them to your chosen forums and accounts.

Original creativity and artistry are incidental to this. If someone doesn't show the gang signs and doesn't respect the standard tropes and genre signifiers, many consumers don't know what to do with them.



> Old synthesizers routinely sell for five or sometimes six figures

Well, if it's a CS-80, sign me up! Seriously though, the analog synthesizer renaissance has been very good to synth musicians, from Prophet and Oberheim reissues (and modern versions) to Behringer's clones to modular to inexpensive mini-synths, along with new keyboards reviving things like ribbon controllers and polyphonic aftertouch.

> Post your beat made on a $100 commodity synth, and everyone will be "Good effort.." no matter how good it is.

Lots of great (and sometimes very popular) music is made on free or inexpensive software synths, plugins and DAWs. Does anyone really care as long as the music is good?




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