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.19.2013 @ 11:58 PM
boobs
@wgparham - you need a crystal guy? my guy is currently in Sedona but i'll be happy to pass him your number. he does a yearly west coast journey to check on audiophile shakra's and adjust crystal placement. i might be able to convince him to journey to a landlocked place but he's kind of terrified of crossing the continental divide.
 
 

 
Sep.20.2013 @ 12:29 AM
seancostello
"A pitch shifter doesn't change the sample rate."

Some of the older ones did. IIRC, the H910 read data into 2 buffers (4096 samples), then read out of these buffers at different clock speeds. The H3000 definitely had variable sampling rates for the outputs, continuously variable from 22 kHz to 88 kHz. Only a few of the pitch shifting algorithms used this technique in the H3000, while the rest used linear interpolation (or the like) at a fixed sampling rate.
 
 

 
Sep.20.2013 @ 1:12 AM
wgparham
@seancostello - You are right, of course... I was talking about modern plugins in a DAW, and thusly wasn't thinking about outboard gear. Figured that there'd be confusion the moment I hit the submit button. I was going to make an addendum to clarify, but then my next thought was that Sean would hate to not get a chance to chime in and set the record straight, so I let it slide.

- William
 
 

 
Sep.20.2013 @ 7:50 AM
Chris Randall
Oh, for Christ sake.

[hits self in face with hammer repeatedly]

-CR
 
 

 
Sep.20.2013 @ 7:57 AM
krylenko
Slow down the hammering to .25 and see what it sounds like!
 
 

 
Sep.20.2013 @ 10:56 AM
DGillespie
Nuts, Sean beat me to it.

But really, even the ones that used linear interpolation are actually changing the sample rate, they are just then re-sampling the audio. Even when you take a delay and increase the delay time, that warp sound is downsampling and any information that was in the signal above 20 kHz will become audible.

So does that matter? Probably not to most people. It's not necessarily more "tape like" since most decks would have had input filters to roll that stuff out. But if having access to ultrasonic information so that you can hear it when you pitch it down is important, then a higher SR will help.

/pedant
 
 

 
Sep.20.2013 @ 3:05 PM
Chris Randall
Dan and Sean, you're both banned. As soon as I get these hammer marks out of my face.

-CR
 
 

 
Sep.20.2013 @ 6:48 PM
Taxist
I'm really glad this thread has turned into a discussion about sample rates. Because the internet needs more places for that.

On an unrelated note, if I were in a tightish budget and looking to buy both the dub jr, and the errorbox but only could afford one of them right now, which would be a better choice? Assuming I want both of them equally and don't have anything similar in my current system.
 
 

 
Sep.20.2013 @ 7:14 PM
Chris Randall
Well, I'd say DubJr, only because it was harder to make. The Errorbox code is nearly copied-and-pasted from Kombinat Dva. DubJr was a bit more balky.

Plus, you can never, ever have enough delays. True story.

-CR
 
 

 
Sep.20.2013 @ 8:45 PM
Adam Schabtach
I'll pop up long enough to say two things: 1) thanks for the enthusiasm, everyone! 2) I'd also vote for DubJr because I prefer delay effects to bit-crushing effects. However, if I may be so bold as to say so myself, Errorbox can make some unexpectedly cool noises if you feed it just a little bit of modulation from a couple of LFOs.

--Adam
 
 

 
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