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There's a ton of filters, I'm sure you could find the basic LP/BP/HP filters, but I know some of the moog-style filters have to be licensed. Then there's also the tools to draw, mathematically generate or import your own wave files, and make wavetables blending between them (from simple crossfading to FFT blending, etc) It's not just that Serum offers a wavetable lookup oscillator, but one that can scan through a wavetable in realtime, 'Warp' the sound in various way (including FM, PWM, hard sync, stretching) without aliasing.

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Using pure math and code really shines here, as well as modular synthesis equipment.Д®DIT: talking of modular, Waldorf, the german company who pioneered wavetable synths in the 90s (you'll take my uWave XT from my cold dead hands!) have just released a wavetable-based eurorack module, and it's pretty extra-crunchy, no anti aliasing here covers a lot of points about the oscillators. It's certainly possible to make music the other way around, where you let the machines have the ideas and you simply guide them, but it's a very different thing. Hence the endless appeal of the acoustic guitar and human voice combo. By the time you've finished messing around with all the technical stuff and making endless choices, you've lost the idea. The more layers of abstraction and choices there are standing between your musical idea and making actual sounds, the harder it is to ever realise those ideas. Hence why the majority of max/msp users don't actually make music with it. >you would have a lot more freedom using raw math over visual gui.Д®xactly. On top of that serum has all kinds of fancy features, such as the ability to import wave files and generate good-sounding wavetables from them, high quality filters, (look up zero-delay-feedback filters) complex modulation routing and most importantly, a GUI that lets you navigate all this complexity and actually compose music with it. However implementing clean sounding alias-free oscillators that can themselves be modulated at audio rate and so on requires years of accumulated domain knowledge. Serum-esque? Sure, selecting waveforms from a lookup table isn't difficult. >How difficult is it to duplicate Serum-esque wavetable generation using ChucK or CSound?

Personally I just like using great new tools that cost very little but allow for a lot of creative expressiveness. Lots of various approaches are easy or time consuming type difficult, I guess it kind of depends on the producer and the goal.

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Whether it's him doing it or a member of his 'team' - the guy has a writer stable of 14 known artists and brings in others like he was giving away free studio time and Yeezy shoes - it just smacks of lazy. Lots of free VSTs as well, it doesn't take a lot of research. A couple versions of Ableton Live were shaky, but along the way things have been patched and I am a happy customer. Sticking with what I could purchase (or demo) meant relatively stable installs.

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Be it software or music itself by others.

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Might seem trite but one of the reasons I attribute my rather good PC music laptop experience over the past 10 years is not using any pirate/suspect downloads. Then again we've seen similar backlash against people using adblockers, but most would sympathize with them instead for other reasons.

What's interesting to me is that people don't question their own ethics before doing this, especially music producers like Kanye who don't like pirates. For pirating software you just search for it and it's usually easier to install, with some cracks even bypassing steps.

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To purchase the software you have to go through a bunch of screens, enter payment info, download, install, and then enter a serial number. I think this all comes down to effort and usability. Steve Aoki was also caught using the above software in a music video with Linkin Park, though he proved that he had bought the software but his assistants installed a pirated version on his road laptop. I used a pirated copy of sylenth on my last 4 albums.