Kerryn

you can learn quicker when someone instructs you, corrects your mistakes (if any, of course ). i'd advise starting with a tutor (for a complete novice)

Of recent freebies, one that stands out is Skanner. Quite a top-notch synthesis engine there, and if you own Reaktor you could alter signal path (as with all its ensembles), which too is quite cool.

I only want to mention that there is a platform-specific software that runs only on either Mac or PC. Thus, if you are considering moving from PC to Mac eventually, I recommend using programs that run on both (e.g. Ableton Live) so you won't lose your work after switching. And if you think of Logic, it would be better to buy Mac straightaway. Besides host programs, some plug-ins are also Mac-only or PC-only. For example, Cakewalk z3ta softsynth runs on Windows, and you would be very disappointed to find that you can't use all the custom sounds (presets) you created. Yes, you can install Windows on Mac and work with it there, but, in all honesty, it is a terrible idea. For this reason, always check whether certain software runs on both operational systems or not.

Digitech Whammy is among my favorite pedals ever. (Together with EHX Big Muff Pi, by the way. Guess I do really like big pedals, lol.)

Here's another guide: Windows 7 Tuning Tips for audio processing. Some advices are similar, but overall it is more detailed.

Great topic. I think these all are very interesting questions. If you take it seriously, tools for creating digital music may cost you a pretty penny. There are even sample libraries for a price of, say, four hundred USD not talking about synthesizers - be they subtractive or FM, those best of them are priced like, 200 to 250. For Native Instruments Komplete 8 Ultimate - a pack of all company's tools for music creation - initial price was $1100, thus if you have such a desire, you could spend easily no less money on software than you would on vintage Fender Jazzmaster. Also, one pretty much needs quite a powerful PC (or laptop. or both: one for studio use and second for live performance) to run many virtual instruments simultaneously and basic setup of controllers - MIDI keyboard is desirable at the very least; dedicated controller such as Novation Launchpad would also be apposite. In general software is more cost efficient though: there are no expenses to buy parts and to assemble them for a company. Plus there is free software even. Of course, it doesn't fit the professional's needs, no matter what one can play piano on amateur level and still the instrument itself is anything but cheap. Yes. However, it gets even easier with instruments such as Korg's Kaossilator and Kaoss Pad - even in their marketing Korg makes strong emphasis on the fact that anyone barely knowing a thing about music can create their own tracks or songs. And there are tons of iPhone apps which are as easy as it can get. Playing piano or guitar on those is simpler than playing a real thing. Mentioning once again what companies themselves say about their products, Ableton is especially proud with their Live, because of achieving their goal to make music creation fun: a lot of music producers have said Live unveils their creativity. My answer is "Yes," because what you can create depends on your own imagination foremost, in case with computer programs alike. Computer programs. I'm quite an accomplished keyboardist though.

For me, Roland GAIA SH-01 appears to be the keyboard synth with the most intuitive interface. It has USB and isn't expensive. Also, I understand it may feel wrong to switch to a 3-octave synth from the 4-octave one so I suggest M-Audio Venom as another option.

I wanted to write that it is less genius than theremin, however after reading description (where they say this thing is MIDI compatible) I can say I'm digging this for sure. Here is another amazing of innovative MIDI interfaces, Madrona Labs Soundplane:

I think no one into indie and electronic music would deny that one of the best records released in 2007 was Justice's Cross. Talking about more underground music, certainly there have always been records sounding more ominous, distorted, and mangled. But when a whole genre (say, rhythmic noise or dark ambient) is characterized by a specific – or even unpleasing for the most ears, – sound, that is quite different. Within mainstream music Cross does quite look like a white crow among its imperturbable companions. For a more exact metaphor, this imaginary pack of crows is covered in coal – so that to make a stronger emphasis on how much of an albino derelict a white one looks like in their company. (Or to be extremely precise, as opposed to dominating in the industry polished and overproduced sound of both electro- and rock albums, with its warped synths it's rather Justice's debut – together with a Crystal Castles' eponymous one, – actually covered in coal.) The thing is, today I stumbled on a classical piece which pretty much impressed me to the same extent as Cross back in days. Improvisation sur le 'Te Deum' – written, by the way, by a French electro-duo's compatriot, – sounds more of a raw arena rock than generic organ music. In a field of classical music Charles Tournemire, its composer, at all looks (slightly?) not fitting in – exactly like uncombed Justice's tunes sound on a dancefloor (in a recent interview the duo's Xavier de Rosnay admitted that he never heard non-remixed versions of their songs in a club). That's jazz that emboldens improvisation, in a barely standing on its last legs classical music there is no place for it – a situation I'd rather see to take a different turn: lots of long-deceased mastermind composers were able to freely improvise rather than mechanically play memorized opuses. Back to Tournemire's composition and what it has to do with Justice, the introductory chords immediately brought their Genesis to my mind; honestly, just add a straight beat and that would almost be it. Perhaps it's not that surprising as it might seem, considering Justice themselves referred to a 2007 album as an opera-disco; given that The Knife recently composed no-gimmick opera as well, it's hard to say electronic and classical music have no cross-points. No matter what, noticing such is always quite curious. Check out Tournemire's improvisation below:

Talking about keyboard controllers, KORG microkey is great. It weighs 1 kg, has three octaves and is really affordable. It has mini keys but with a nice touch nevertheless - just try before you buy. As you're searching for something 'you can plunk out a tune', microkey definitely does it and more: you can program sequences, arrange songs or whatever.

I only know a hardware effect pedal which does this job really well. It's a BOSS VT-1. VT stands for 'voice transformer', so probably if you google something like 'software voice transformer' you have a chance to find what you need... Good luck in your search.