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.


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Sep.19.2013 @ 11:11 AM
@joshua-s - Most likely. It was probably going to be the route that I took eventually, because (you know) it currently exists and all. But, at this point (barring ADverb for the occasional drum plate) I use Sean's plugins for everything in the box. I know his stuff well, and what it does for the way I want my music to sound. I'm just being lazy. I'd rather not have to learn a new sound and go through the process of learning how to tame it for my purposes.

@Chris - The Eventide vs. Lexicon split is definitely a thing in my decision making process. The only "nice" hardware reverbs that I have ever owned were Lexicons. I've never owned any Eventide kit. I've wanted to, but nothing ever showed up in my price range that looked interesting.

A fair amount of the high-end outboard gear that I've picked up over the years has been purchased from junkies needing to sell gear for a quick fix. In those situations, it's kind of a buyers market. Downside to that is the fact that most abject drug addicts don't treat their equipment well. I might get gear for a tenth of what it should cost, but it lasts about the same ratio of time. I use it for a couple of projects until it blows up, then I sell it to someone who thinks they can fix it, and end up roughly revenue neutral. Which makes my wife happy, because she likes to eat for some reason. She's selfish that way.

tl;dr - I'm either going to get a used Space at some point in the near future, or save my pennies for a ZDSP and hope that Sean has a chip for it out by the time I have saved up for the ZDSP even though that means I won't be using it for said upcoming gigs.

- William

Sep.19.2013 @ 11:32 AM
The little pinball game that was included with the Grainshift module will ensure that my wife gets her turn to play GTAV tonight. I might have some fun with the module itself too.


Sep.19.2013 @ 12:36 PM
Chris Randall
Funny story, that. When I delivered a big box of those to Analogue Haven last Saturday, Shawn thought that I had just thrown the screws in the boxes, because the whole thing rattled like a stack of folding chairs falling down the stairs due to all the pinball games.


Sep.19.2013 @ 1:11 PM
I now see the extensive post on this Valhalla/Z-DSP stuff over at MW, so we can skip the long-winded discussion:

link []

Sep.19.2013 @ 5:08 PM
Quiet Ovens
well, 24 bit = more headroom, that seems more important. It's kinda surreal that shit is still 16 bit, the 1982 standard. 192 and higher sampling rates can matter quite a bit for delays and pitch shifter etc.... It's higher res, so in a way closer to tape, when you slow it down, there's more information there. I realize it's overkill for modular, but it seems you could take advantage of that. Hell, I know it doesn't have to have a high bit rate/SR to sound great, as the MXR Blueface delays and others proved. Just seems like there's a lot to exploit at 192 even 384.

Sep.19.2013 @ 5:49 PM
Quiet Ovens
it's odd that modules, usually more costly than other gear, rarely post specs at all. I know it's often due to the size of the manufacturer. But still odd.

Sep.19.2013 @ 5:51 PM
Too many bits confuses me.

Sep.19.2013 @ 5:53 PM
Chris Randall
Not really, no. I'd suggest watching the Neckbeard Digital n00bs Video a couple posts ago. Can't miss it.

But the simple answer is: because math.


Sep.19.2013 @ 6:18 PM
Quiet Ovens
right. great video, took awhile to find it again. But that's for listening.
Record at 24/192 do a soundhack header change to 48khz that's going to sound better, smoother, more fluid/natural than recording at 16/48 and reducing the speed to .25. It's .25 speed at 48k resolution. YES? I admit I must be missing something here as this seems too simple.

Sep.19.2013 @ 6:23 PM
Chris Randall
I still don't see the point of this. A pitch shifter doesn't change the sample rate.

That said, Eventide will be very happy to sell you high-sample-rate real-time effects. There's a reason an H8000 costs $4K.


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