September 13, 2013

Flipping The Script...

by Chris Randall
 



I think that picture tells far more than a thousand words could. After two years of R&D (a sentence fragment that in no way conveys the experience we've just been through), and coincidentally during the week of Audio Damage's tenth anniversary, we have succeeded in releasing a hardware platform for our DSP effects, and are ludicrously proud to unveil the first three Audio Damage hardware products: DubJr, Grainshift, and Errorbox. You can read about them at the Audio Damage site.

All three are 8HP Eurorack modules with ARMv7 CPUs doing the dirty work; they all retail for US$179.00, and all three are now available at Analogue Haven for immediate purchase. Analogue Haven will be the exclusive U.S. distributor for our hardware products; they will not be available via the Audio Damage website. We're currently in negotiations with a couple other distributors; we expect to have product at EquinOz within the next couple weeks. If you'd like to see Audio Damage Euro products at your favorite (non-U.S.) modular synth store, tell them to drop us a line, and we'll try to get it sorted.

We'll be rolling out audio samples in the next while (although if you're familiar with our products, you know what these sound like for the most part already) and videos in a few days. I'd like to take this opportunity to personally thank Shawn at Analogue Haven, who bootstrapped this whole operation, and my lovely wife Elle, who made boxes and power cables, tightened knurled nuts, and packed hundreds of modules. Hundreds. She is, if I'm not putting too fine a point on it, the shit.
 
 
 

73 comments:

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Sep.16.2013 @ 9:25 PM
D' MacKinnon
Congrats guys and nicely done! I was just talking with a friend earlier today about how plugins have a limited shelf life with OS upgrades, plugin format changes, etc but hardware can last if you take care of it. Excellent price point on these.
 
 

 
Sep.17.2013 @ 8:48 AM
disconnector
Not only have you managed to capture a fair chunk of the essence of the AD family of plugs in three modules and 9 knobs, but you've launched these amidst reworking a new home and a 500 year flood. Props to you all three of you. Now I'm off to start my eurorack wish list.
 
 

 
Sep.17.2013 @ 10:09 AM
justin3am
Thanks Chris! A musician's perspective is more important to me than the maths. I'm not expecting pristine FM... "interesting" results are exactly what I'm looking for.
 
 

 
Sep.17.2013 @ 5:08 PM
Quiet Ovens
why not 24 bit? and for delays/pitch wouldn't 96/192 sound quite a bit better? no advantage? or cost?
 
 

 
Sep.17.2013 @ 8:07 PM
Chris Randall
Here's your $1000 delay in 8hp with three knobs. Enjoy!

-CR
 
 

 
Sep.18.2013 @ 9:23 AM
wgparham
I never understand people's desire for ridiculously high sample rates. Didn't we all just watch some neckbeard tell us how there is little need for anything over 48/16 and absolutely no need for anything over 48/24? Considering that most people listening to anything that I produce are going to be listening in the car or on little white earbuds, I rarely do anything above 44.1/24. Other than the problems caused by my lack of skill as a mixer, I think the last couple of records that I've done sound pretty damn good. I don't see how doing them at 192/32 would make them sound any better. In fact, the added strain on my laptop, and the added latency that I'd require would probably cause me to end up with a significantly worse sounding piece of music. The only time I record anything higher than 48k is when I'm doing field recordings, or sampling real world/environmental sounds, because I will frequently slow them down significantly during the sound design phase.

I think these modules will sound on the good side. Chris and Adam tend to err on the side of "sounds great, won't kill yr bank account". As an old boss of mind was fond of saying, "value is the intersection between price and quality". Audio Damage tends to hit that mark pretty well. I'm all in on these. Just in time for a couple of live shows that I've got lined up. I was wanting to do a laptop free set, but dreaded the idea of not having DubStation on a send. Problem pretty much solved now. All I need now is ValhallaShimmer in a module (that I can afford), and I'd be set.

- William
 
 

 
Sep.18.2013 @ 10:23 AM
Chris Randall
Also, when you're getting in to those sorts of numbers, you're thinking XLR, rack ears, and a dedicated power supply. The electromagnetic jungle gym that is a Eurorack modular system isn't suited to high-end AD/DA methods. It's about exploration, not audiophilia.

Now, all that said, we'd be very happy to sell you a delay with four times the delay time, four times the features, that operates at 32-bit floating point at any sample rate you'd desire right up to 192kHz. It's called Dubstation, and it is $39 and is available in the Audio Damage store.

I think that about sums that up.

-CR
 
 

 
Sep.18.2013 @ 11:11 PM
boobs
i'm just gonna stick the output of a delay into a WMD geiger counter anyways.
 
 

 
Sep.19.2013 @ 8:17 AM
disconnector
@wgparham - wouldn't that Eventide Space box get you pretty close to the Valhalla plug (no offense to Sean).
 
 

 
Sep.19.2013 @ 8:44 AM
Chris Randall
The Space is fantastic, but its reverb is very Eventide-ish (which is to say extremely rich and with more linear tails). Sean's algos are more Lexicon-flavored, more open and with more exponential tail taper. So I guess it kind of depends on what you like. The Spin hardware he's programming for can't really do any of that, as it only has 32K of sample memory.

In any event, we're cruising for a long-winded piece of pedagogy on the anatomy of reverb algorithms if we don't watch ourselves. Suffice it to say that the Space is an excellent piece of hardware.

-CR
 
 

 
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