>the 80s was basically the last era of innovation in the synth world. (PPG, D-50, DX7, EMUII, Juno).
I agree. Even the digital Roland stuff from the '90s that I like was basically just following on from what they were already doing in the '80s with the D-50's LA synthesis.
>In the 90s and early 2000s you could pick up these keyboards/racks for dirt cheap compared to the boring array of Korg M1 clones and crappy virtual analogues.
Even digital rack synths are starting to go up in price now.
>"analogue = mystical, warm, phat, fat, lush, authentic".
It seems that when people say that they're missing the fact that there are limp-sounding vintage analogs out there. I own one and plan on getting rid of it.
>Watching Dave Smith sell out with the Prophet 5 makes me cringe as he was always forward looking.
The Prophet reboot honestly seems to be exactly what I've been hoping for in a synthesizer for years. The previous DSI/Sequential polysynths had way more features, but the Prophet 5 seems to nail the sound of the old Prophets in a way that the Prophet 08 and Rev2 didn't. That's not to say that they aren't capable of making good sounds, but I've always wanted something that sounded like an authentic, high-quality vintage analog polysynth right from the start. I want something idiotproof that I can just turn on and get convincing bread-and-butter patches from instantly instead of having to mess with a bunch of parameters trying to age or beef up basic sounds.
It's expensive, but if I end up liking it it might be the only analog polysynth I'll ever want. A Jupiter 8 remake would be the only one that would really interest me, but I'm not sure if I'd feel like I'd need one.
>Innovators like brian eno, michael cretu, depeche mode didn't give a fuck about technical details and just wanted to create.
Being a gearslut really kills creativity. Being autistic over instruments can be an asset in terms of attention to detail, but it's highly detrimental in terms of actually getting things made.