Of course, it is far more complex than that, and we spent the better part of a year coming to grips with the fact that music no longer strictly requires a media platform to be a commercial product. Audio Damage has always worked that way, and it works quite well. We see no reason whatsoever that Positron can't work the same way.
The store (I would say "the digital half of the store" before today) will give the customer an uncompressed download of their purchase in addition to the alt-preset-standard LAME encoding that we already offer. I'm still trying to settle on a format, but BLEEP does FLAC, and I admire BLEEP, so I'll probably do FLAC too. What a silly format.
In any event, the first order of business is to get all these CDs out of our storage room so we have room for uncompressed audio files. Anything that still remains in hard media is on sale at shopPOSI and will remain so until stock is zero. We're working on the mechanics of the store change (essentially removing the ability to sell CDs at all, and adding a second format to the purchase) and that will take a bit of time.
This marks my complete change to a hard media hater of the first order. I'll now complain incessantly about people who missed the Clue Fairy, and it should be all sorts of hilarity.
Sorry for the lack of posting yesterday. I went to Mt. Bachelor to get my snowboard on, and when I got back I was too sore to care about matters audio. And Pablo thought I might be tasty. But I'm bigger than him so that wasn't too big a deal.
In any event, NAMM is upon us. I will not, of course, be attending, because it has become a point of pride now. Plus this blog isn't really about NEW SHIT!!! but more editorial in nature, and I can just as easily do that in the comfort of my own home as with driving to Anaheim and spending 3 days in the World's Largest Guitar Center Shred Fest. Can you even imagine me in the same state as the World's Fastest Drummer competition, let alone the same room?
Luckily, Audio Damage's business model means I don't have to give a flying fuck (and/or a rolling donut) about Sweatwater and Musician's Enemy, and I don't have to try and talk their buyers in to taking X units. If it did, I would probably quit. Or kill myself. Not necessarily in that order. If there's one thing I hate about this business, it's the behind-the-scenes name-dropping motherfuckers. Like buyers for major retailers, for instance. Or booking agents. Or record label legal departments. That sort of thing.
All that aside, a quick AD update. We're approaching DSP freeze land for Ricochet. The multi-tap delay code is working like a charm; we're tuning filters and such now, which will define the sound of the plug-in, and making some decisions viz. usability. (This is harder than it sounds, because I'm fairly brutal about simplicity, while Adam likes a lot of options. We meet in the middle.) We're just about to the point where I can put up some audio samples; that being the case, I will probably make a product page in the not-too-distant future. I still can't say with any sort of accuracy as to when it will be done and for sale, but the vast majority of the Hard Part is done.
The MC Control (and its lil' halfling brother the MC Mix) are in the Sweatwater store now for preorder. $1499 gets you four faders, a jog and transport, and a very nice touch-screen display. More faders in banks of eight for $999. Nuendo and Cubase 4 come with EuCon, but I can't speak for other DAWs, so it's debatable whether you can actually work this if you're a Pro Tool or whatever.
Complaints? Sure. I'm left handed. Euphonix hates me, and always has. Mac only until some time Real Soon Now, which in Euphonix-speak could easily mean "never." But if you're in the market for a control surface, and you can fit this in to your workflow, get it instead of some dumb-ass Mackie bullshit. It's only $500 more, but easily $5000 better. And then, when you sell shit on eBay, you can put "from Euphonix studio..." in the description.
Plenty has been said about the release model, so I won't bother to equivocate on it here, except to say that you really have to be already famous for something like that to matter. I read the David Byrne "interview" with Thom Yorke in December's Wired, and Mr. Yorke essentially said the same thing. Lots of people give their album away, but the vast majority of those albums couldn't realistically be monetized in any meaningful fashion anyways, whereas the Radiohead album, because it's them, has significant intrinsic value.
In any case, we watched their studiocast last night on Current, and I was fairly impressed that they can get all of the feel and maybe 90% of the production quality in a live context. I have seen them live twice before, but I was in my hater phase, and was essentially bored to tears at the time. But with an objective eye, I have to say that what they're doing now puts them in the same meta-artist category as Underworld in my book. That is to say, the live show, their visual representation, the albums, and their web presence all are part and parcel of the package and essentially inseparable from each other. My wife pointed out that they've moved beyond the major label "Pre-made Pop Package" in to some other realm.
(I find it interesting to note at this juncture that both Radiohead and Underworld are on the same imprint here in the US.)
In any event, it does give one hope, although it takes a lot more ingenuity to pull off something like this than to just write a not-bad song and get signed. Thoughts?