Nothing wrong with it but letвЂ™s not kid each other and pretend itвЂ™s more than it is. I dont mind that at all as long as people are enjoying themselves, but every now and then it gets a bit pretentious, especially the modular guys look all super serious when they carefully and slowly twist a cutoff filter knob as if itвЂ™s the deepest creative thing, or touch knobs as if they ard hot and every small adjustment is extremely cerebral and well considered, yet nothing happens. Just because itвЂ™s nice doesnt make it admirable as far as the creationprocess is concerned.Д«ut yeah there are plenty of people buying hundreds or even thousands of dollars in hardware, like modular and expensive pedals and basically what comes out are more bleeps and bloops, drones and reverbed stuff. ItвЂ™s interesting, I like ambient music to listen to every once in a while but I dont consider it something that is very skillful or artistic to produce. I mean nothing wrong with a big sky as a tool. I guess you could say that the term synthesizer can have a broad or narrow definition depending who you ask, and there are examples that have more or less consensus, and some people may have for themselves a clear definition with clear boundaries based on technical knowledge, while for others the personal boundaries of their definiton are more arbitrary / less well informed / inconsistent. If modulation / manupilation is the real synthesis yes/no factor, how much modulation / manipulation must be applied before something is considered something synthesis? ThatвЂ™s a grey area. What he did was manipulating pcm samples to create eniterly new / different sounds. Koki Kondo had to work with very limited rom space. You mention sound manupulation, which makes sense but that is still a very broad concept. Not having a good understanding what happens technically makes the semantics discussion useless.

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