I'm a 30-40 year old with absolutely no interest in making music, but I want every single thing which crosses my news feed from Teenage Engineering. So yeah, that checks out.

Hmm… “good” is relative. Lots of stuff out there

Ciani has been a pioneer in this space since the 70’e https://wikipedia.org/wiki/Suzanne_Ciani

Check out the boiler room set of https://caterinabarbieri.com/

https://www.youtube.com/watch?v=W25FTlO42VY

Vogelsinger has pieces all over YouTube. https://helenevogelsinger.bandcamp.com/

https://www.youtube.com/watch?v=kYxheEGl2oM https://www.youtube.com/watch?v=W25FTlO42VY

Some others that come to mind: https://polypores.bandcamp.com/

https://bluetech.bandcamp.com/music

Evan B’s label for this music only https://www.behindtheskymusic.com/

People with the talent/skills/motivation to make music will end up making music with whatever they can get their hands on, and for anyone who doesn't fall into that category, no amount of equipment purchasing will fix it.

And folks who make music for a living don't generally have lots of disposable income.

I think you're largely right but man there's some gold in the jams. Here's a 1 minute synth jam video posted to youtube 17 years ago, it still blows me away: https://www.youtube.com/watch?v=F8Kiw4aoex4

Of course he's brilliantly talented and became Dorian Concept, to your point.

In today's digital world, fraught with impermanence - to find things going that far back is fascinating.-

PS. Much more so when it "chronicles" the development of talent, such as is the case here.-

Nice find!

Might not be your cup of tea but finneas the brother/producer of billie eilish made a lot of top 10 hits while using an OP-1…

People make some good tracks with the OP-1.

I think dipplo (a big edm artist) used the OP-1 in his live sets for a while.

Heh I feel called out. I love these kinds of things and don’t publish any music. For me, it’s about the joy of making music. It’s not a performance, it’s a recreational activity. It’s playful.

When I want productive music making, with the intention of publishing, a computer with a DAW is the obvious tool for the job. No question. Hands down.

Still, there are absolutely people who publish fun tracks and perform live with this stuff:

https://youtube.com/@teftymeems

https://youtube.com/@espenkraft

https://youtube.com/@hainbach

https://youtube.com/@elisetrouw

https://youtube.com/@truecuckoo

https://youtube.com/@bobeats

And that’s just the indie fringe. Chvrches uses hardware synths. The Stranger Things soundtrack includes a critical sequence programmed on a modular sequencer for microtonal control. The Weekend’s Dawn FM video album features a Moog One prominently. Taylor Swift performed with a special edition Prophet 12. Etc etc

> and i've still never seen anybody make genuinely good music with any of these things. not even once.

So? Why does that matter?

I have a decent second hand Nord Piano 3 .. I certainly can't make good music on it, but I have fun playing it. Sure, with that kind of instrument I'm sure there's plenty of people making great music on it, but does that matter to me? Not really

I'm willing to bet the overwhelming majority of instruments sold are never used to make genuinely good music. People buy them to challenge themselves, to have fun, to learn new things.

Some instruments are more aimed at that kind of usage rather than actually making good music, and I think it's fair to say that Teenage Engineering stuff falls in that category.

I bought a couple of pocket operators at some point. I found it very fun and challenging to work within the constraints of those devices. I would never use any professional music making software because it's just too overwhelming. But with the Pocket Operator I feel motivated to try making some simple jams and have fun with it. It's never going to become anything serious and that's OK.

Just like 99% of golfers buying expensive and cool clubs are middle aged white rich dudes who just play with their friends two times a month and brag.

It's no coincidence that we invented the "enthusiast" or "prosumer" categories precisely to separate certain products from professionals

OP-1's portability, synth range and 4 track combo seems to have been pretty successful creatively from what I've seen, beyond that they've been extremely limited though. Closest I've seen them come is the OP-Z but a combo of build quality issues and just not getting the idea across very well has crippled it. There's a decent argument a lot of those people could've achieved the same with some much cheaper 4 track alternative but it probably wouldn't have drawn them in as much.

Pocket Operators are a great fidget toy but the collecting nature of them all is a bit annoying (saying that as someone who bought a bunch of them and only ever really enjoyed 3 of them: 14, 32 and 33). Useless as music outside of maybe an drum beat to improv over from what I can see though?

Have very little issue with them myself though. Even absurd projects like the Choir are kinda neat to me; toys for rich people to burn money on which may result in other people stealing the good bits and making something better and more accessible.

Think whatever this is is a big misstep after the EP-133 done a good job addressing a bunch of their past issues as a business (albeit with a lot of room to improve)

Well, probably wouldn't be able to convince you that the artists playing shows using Euroroack (or Elektron, or TE) in front of bigger audiences that you ever have are "genuinely good."