Yes, there’s no question that a lot of today’s synths seem lifted from the pages of the 1970s, from monosynth to modular. And yes, a lot of keyboard chops today are shameful, though – well, if you’re going up against Chick Corea, you really ought to practice, regardless.
But there’s something charming about watching some of the great musicians of the last century explain what it means to use more than one finger at a time to play a keyboard instrument. And they approach the Polymoog almost gingerly, more a Rhodes with effects than a new instrument. That mid-70s sound is itself something unique and nice, and if anyone stands out as sounding contemporary, it’s Herbie Hancock. But you begin to appreciate that it’s only recently that the avant-garde and keyboard tradition have merged together in the mainstream ear. If we all bumble a little to keep up both chops and sound design, maybe we can be forgiven as those universes continue to squish together. It makes me optimistic.
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