https://medium.com/@danllerena59/the-psychology-behind-gear-acquisition-syndrome-459cce25967a
Interesting article I read online after I was watching some random deadmau5 Videos
I thought this was only real on memes until I found this article
Did you had it before ? Do you find the cure ? Did you really dig into journey of exploring a equipment at least for couple years at least?
How many times you end up variaty of sounds with only one equipment for creativity and creative process? I like see and hear your experiments with your synths ,gears and sound design...

 

Yeah, I knew it´s a realy term and it´s not only musicians. I think pretty much the whole art world uses the term and it´s even a thing in other hobbies, but I see it most in music and painting/drawing. "Oh, another set of watercolours to add to my collection that would last three lifetimes".

Anyway, I think I´m mostly cured. It sometimes does flare up when new stuff gets released, but I haven´t bought anything in a while and I kind of feel like I really have enough stuff. Maybe it´s because I doing more ITB these days after a few years of working with hardware only, I´m not really sure, but for the first time in ten years or so I don´t really care when new stuff comes out.

 

It's a real thing and I've had it. I can't say I'm been fully cured, but the age old treatments of lack of space and money combined with the modern medicine of ridiculous prices for vintage gear have pretty much kept my GAS at bay. It's still ridiculously easy get into the mindset of thinking "what if I sold this and bought that...?", but then again, one simply can't have too many distortion pedals.

Highly recommend The Packrat, basically a documentary comic strip.

 

Last edited: Jul 14, 2026

Mine was cured by finding out I was 'really' into sound synthesis and I can do anything I like on Europa and spire or serum
But for me the actual real physical experiences with the synths and gear is also interesting because its inspires you like an acoustic instrument , for now I'm hybrid with both vsts and gears I liked the sound, the 80s Yamaha Roland stuffs and the 00s tritons and &...
I used to had a poly 800 but ever since I came across with furry800 vst that sounded to me almost identical I sold the furry800 around 2019ish?
But now it's not like syndrome anymore my narrative is
I like to have a 90s workstation in the living room to play it sometimes with some home speakers to enjoy the experience not just stacking old gear beacuse I never found a clue for doing it not economically and logically for me because every single gear I have is either from the old times i kept and For now I do "really" buy new stuff only if I'm gonna learn something new from my experience with the instrument or gear otherwise I refer myself to this syndrome and move on with life...

 

Last edited: Jul 14, 2026

I´m really glad I have all that gear, though. I mean, if you look at prices for computer hardware, it was definitely worth building a hardware rig that doesn´t need a computer running a DAW. Even the days of cheap components/parts on Aliexpress are over, so going nuts with building lots of hardware I never used as much as I thought I would, was absolutely worth it.

And I still love grooveboxes. Since I have the powerbank for my Digitone, I use it pretty much daily as a sketchpad. It´s just like that part in my brain that screamed "omg I need this" all the time was switched off. I think it might have started when I took a break from socials, because when I logged into my accounts again, there was so much to catch up with, so many new threads on new gear, so many videos...it was pointless trying to catch up with all the new gear, so my brain just said "nah".

 

I have a ton of gear but it's mostly because i play guitar, bass and keyboards. I think GAS is more a thing with guitar. I have a lot of pedals but it was always because I was looking for a particular sound - I was going to start a Black Sabbath tribute band and bought a left handed Epiphone Iommi guitar (it was cheap enough, the pickups were worth more than the guitar). Then I bought a Damage Control Demonizer distortion pedal and an Ibanez WD7 Weeping Demon wah pedal. That combination gave me a great Iommi sound. So there was always a reason for the gear I purchased, I was never searching for 'the perfect tone', that's mostly in the fingers. I think these items are worth more now than I paid for them so sometimes it can be an investment.

I made mistakes along the way, like the time in the late '80s when I swapped my Roland TB‑303 Bass Line and Roland TR‑606 Drumatix for a relatively rubbish drum machine costing around £120 at a music shop. Programming Blue Monday into those things made me realise that I never wanted to do that again. Only a few years later they were selling for thousands.

 

There will always be a piece of gear a dedicated musician wants that is new.
I think age curbs the "I have to get this!!" - People with age tend to ask themselves if it will really make any difference overall and if they will use it a lot. If the answer is 'No' on both counts, it becomes an easy decision.

 

subject adjacent; I see memes about steam video game sales and people getting new game after new game while they have a huge backlog of things to play still.

About a year ago I started keeping a spreadsheet with divided sections

Logged everything in the studio rooms and 2nd nature happens, pretty easy adding newly acquired gear as it comes in. Links, power requirements, serials, firmware versions/dates updated, developer account info, manuals, notes including a section for 'potential projects' like adding single coils pickups with a battery pack and linking all hardware required/the entire rabbit hole of project scope. - Took some time to complete but def useful, especially if gas kicks in and I'm zeroing in on something vErY iMpOrTaNt online





..yeh meanwhile this arrived yesterday

so not entirely cured just yet


Phrase most-often heard muttered around here: If you can't do it with what's here wtf are you doing?



=========================
*edit (and more to your point): have been doing this 30+ years.. this 'gas' syndrome actually only began about two years ago or so whats that about? another terrific side effect of the internet? Music output still strong and more than anything new purchases are practical items (i.e. get a new bass, setup for E♭ and that tuning is permanent). Probably more in line with a new studio build I've been working on about the same length of time but gotTamN if these marketing fckers don't know just where to rub!
..Ha I think your question just solved my issue Thank you @ManMythMaschine

 

Last edited: Jul 14, 2026

The best way is always to go your own way—just don't read those articles about the syndrome; instead, follow your heart and your gut. You'll see that this is the only way to be happy.

 

This GAS penomenon is universal to people who are born this way. As Tennis players always need the best racket, the best tennis balls... As a electronics fan they need the best oscilloscope, the best measurement gear, the best power source...
The problem is that most of the time, The person's ability or knowledge bears no relation to the money spent, because the person believes their problem stems from faulty hardware, when in fact it is due to a lack of engagement with the actual subject matter or simply a lack of talent for the task.

 

You welcome mate! Wishing you all the bests✨
Btw the green pedal I saw , is that a compressor pedal with filter? I think its sounds interesting as well...
Aaa, that's an SC filter...

 

Its fun to work with hardware. Its interesting. Its creative. Its great lol
i use all my synths except the 303 acid machine that i have not used for months i find it a bit difficult to use.. alto its a good hardware bassline machine... i dont know. regarding getting more gear thats human nature to want more. this isnt only gear. it applies to other hobbies and interests. people buy more cars.. some buy more of that.. people who collect stuff.. movies.. dvds.. games.. whatever you know? its just human nature to always want more. but it does give a more sense of freedom to choose how to work with more synths.

there is alot of patches that are NOT used, they are cool but never get used. but it happens they are used later depending on the song. its good to have alot of sounds to use from. select of

 

Last edited: Jul 15, 2026

Although on a daily basis I trawl the used gear pages and daydream about buying a Hydrasynth desktop or maybe that new Bourgeois Downtown or Atkin 00 guitar, I really don't need anything more to make music for the rest of my days. There's only one thing that I must have to either record or play to make my life complete and which I binge bought over the last few years in fear that I might lose them and be crippled as a gitpicker...Blue Chip picks. There is really nothing that comes close in how long that they last, the beautiful tone that I can get out of them on an acoustic guitar combined with zero amount of friction and all slidey glide off of the strings...and they have a way of not at all slipping from my fingers as I pick away, but rather clinging on without being sticky and so allowing finesse in my personal technique, my way of playing with my right hand. The next closest thing is Galbanum plectrums, what buttons in the past were made of, an early plastic that has a tone and feel to tortoise shell which can no longer be sold for guitar picks. They do cost $35 each in my chosen thickness of 1 mm to 1.5 mm. They are worth every penny. I have about 10 which will be sufficient enough for me to get by.

 

So this "article" is structured like an academic essay, and mentions "Neuroscience" but imo fails at taking account basic human psychology.

All the talk about "our brain’s reward and stress systems" sounds very professional, but if we take out "gear" or the context of music out of the equation, as the 'article' attempts to do ("whether it be a musical instrument, (...) camera equipment, or a kitchen gadget"), and examine the simple "added value" and "sale" mechanisms in the context of clothes, or automobiles, "GAS" becomes more transparent.

For instance, what prompts a wo/man to buy a Mercedes over a Ford or Fiat, Toyota or Volkswagen? Is it the ride comfort, the reliability record, or the prestige associated with the brand? Likewise with a Brioni Tuxedo, or Dolce Gabbana dress over an off the rack Nordstrom or Macy's brand equivalent, or Louboutins over Birkenstock (a starker contrast in form if not function, admittedly).

I know that if I had to pick a daily driver other than mine, I'd go a bit more exotic than a pedestrian Volvo; I'd pick a Porsche at least.

Likewise with gear: we all lust after the prestigious brands, the Neumanns, the Neves, the vintage Strats and Les Pauls, the SSLs, and legitimately so I might add, all things considered - why not if you've got the budget (note to Universe: I would love a Neve console).

But most other brands's products in the same price range perform just as admirably (now and then) as said prestigious vintage gear, but for your inner child as much as for your clients' egos, the Neumanns, Neves, and SSLs of our world just can't be beat.

On a more modest scale, I remember the rush to buy a DX-7 when I was in school - even in your teens you looked like an old fart if you showed up to a session or a gig with an analog synth and Rhodes (how times have changed) - or an Emax, D-50, M1, S-760, EIII, EIV, etc. We all wanted the aura that came with showing up with pro grade gear, the same you heard all over the radio (remember the radio?).

A similar human drive can be observed in all children pretending to drive a car, or buying Air Jordans or Messi kits.

None of that basic psychology is mentioned, addressed or explored in the article above - not even in the "References" linked therein.

And that's just the universal appeal of brand prestige and aura, but when you add sales FOMO (which we've all experienced with plugins at least once), that's a powerful 'hormone' (it's not a hormone obviously, but since the article mentions "dopamine" I might as well too).

As far as GAS "serving as a coping mechanism to alleviate anxiety," that's risible (bordering on the pathetic), but not entirely unfounded; it's just "survivorship bias" - the real catalyst here is not the gear: it's having the money to buy the gear (even on credit). The enjoyment that the prestige or aura said purchase confers on the new owner is real, but in my experience does little to "alleviate anxiety."

Thanks for sharing though - always interesting to see how some surely well intentioned but misguided folks can use "neuroscience" jargon to bring aura and prestige to themselves under the pretense of "Unraveling the Psychology Behind" whatever.

 

my hardware synths

Roland Fantom X6
Korg triton rack
EMU Proteus 2000
Roland JV 1080 fully expanded (orchestra1, bass and drums, hip hop and techno expansion boards)
Yamaha MOTIF XF6
Behringer td3 mo bk bassline synth
Behringer JT4000 micro
AKAI MPC Studio
AKAI MPX8

possible future purchase

EMU Mo phatt (either rack or ROM expansion board)
Roland JD08 boutique
EMU X-treme lead rack

 

Haha, how I can feel you.
My wife thinks I'm going nuts buying some little pieces of stuff I fear I couldn't get in the future (because they are ever more complicated to get in the last years). So I calculated how many of them I may need until my end and hoard them in a box for future use.
I think I'm actually a bit nuts, like one of these prepers. And no, I didn't buy a coffin yet

 

Maybe your wife knows my wife.

 

The distinct sound of hardware synthesizers—especially vintage ones—comes down to a mix of physics, engineering choices, component aging, and the beautiful imperfections of analog electronics.

While software synthesizers (plugins) use mathematically perfect algorithms to calculate sound waves, hardware synths rely on physical electrical currents. Here is why they sound the way they do, and how age changes their voice.

Spoiler

1. The Character of Analog Components
In an analog synthesizer, sound is generated by electricity passing through components like transistors, resistors, and capacitors.

• Component Tolerances: In the 1970s and 80s, electrical components weren't perfectly identical. A resistor marked 10k ohms might actually be 9.8k or 10.2k. Because of these tiny variations, if a synth has two oscillators layered together, they are never perfectly in tune. They drift against each other, creating a natural, lush "chorus" effect that sounds alive and moving.
  
  
• Non-Linearity & Saturation: When you push a digital signal too hard, it clips aggressively and sounds harsh. When you push an analog circuit hard, it compresses gently and adds pleasing harmonic distortion (warmth). The mixers and filters inside hardware synths often distort slightly even at normal volumes, giving them a thick, weighty presence.

2. The Power of the Filter
The filter is a synthesizer’s soul, and different manufacturers designed theirs using unique hardware layouts.

• The Moog Ladder Filter: Famous for its fat, creamy low-end. When you turn up the resonance, it actually loses a bit of bass, which is a specific quirk musicians love.
  
  
• The Roland IR3109 Chip: Found in the Juno and Jupiter series, known for a smooth, bright, and pristine liquid sound.
  
  
• The Korg IC-35: Found in early MS-20s, it was incredibly noisy, aggressive, and wild.

Because these designs were physical circuits, they interacted with the audio in complex ways that digital code has to work incredibly hard to emulate.

3. How Age Changes the Sound
Just like an acoustic guitar's wood changes over decades, a synthesizer’s electronic components change as they age. This process alters the machine's sonic character over time:

Electrolytic Capacitors Dry Out
Capacitors act like tiny temporary batteries that smooth out power and block certain frequencies. Over 30 to 50 years, the liquid electrolyte inside them dries up. As they fail, the synth's power supply becomes less stable, and the audio path changes. This often results in a loss of low-end bass, an increase in background hum, or a darker overall tone.

Resistors Drift
As resistors get hot and cool down over decades of use, their actual resistance values shift permanently. This pushes the synth even further away from its factory specifications. The tuning might become less stable, the filter tracking might get quirky, and the envelopes (how fast the sound attacks or decays) might change, giving an old synth a completely unique quirkiness compared to another unit of the exact same model.

Micro-Corrosion
Tiny amounts of oxidation build up on internal connectors, sliders, and potentiometers (the knobs). This introduces minute amounts of resistance and noise into the control paths, sometimes causing subtle, unpredictable modulations in the sound.

The Modern Paradox: Today, synth technicians "re-cap" old instruments—replacing the dried-out capacitors to make them reliable again. Ironically, some musicians find that a freshly restored vintage synth loses a tiny bit of the "haunted," unstable magic it had when the parts were old and drifting!

plugins dont do this yet

 

Last edited by a moderator: Jul 20, 2026 at 12:58 AM

Hey, I need my CHF 235 Louboutin flip-flops to function in good form, doesn't everybody? Birkenstock? Is that a kind of wooden flooring that I might tread on while walking about in my flip-flops?

 

Next time you get the GAS just research positive forum discussions and article reviews of gear that you already own. That seems to be one good way to quell the urge.

Will they help you walk into the studio? Get 'em!