Do you think more producers should be treating soft synths like hardware – fewer tools, more intention?
Absolutely.
I think there’s something really powerful about limiting your tools and diving deep with the ones that resonate. Monark is one of those synths that I treat almost like a piece of hardware – it’s focused, punchy, and gives me what I need quickly. That plays a huge role in my
workflow. I tend to commit fast to a bass line or rhythm and move on – if it’s working, I don’t overthink it.
That momentum keeps the creative energy flowing, and Monark supports that by giving me inspiring results without needing hours of sound design.
In a way, I think producers could benefit from trusting their instincts more. Not every sound needs to be rebuilt from the ground up. If a patch hits right, tweak it a little, commit, and build around it.
I use soft synth in the studio: quick decisions, fewer distractions, and more intention in how each part fits into the bigger picture.