Note that this does change the sound of the effect somewhat when it is used in anything but a 100% wet situation, so plan accordingly if you are gonna do the update.
In other news, we didn't have Interwebs (or electricity, for that matter) for a while, which would explain my lack of communication the last little bit. I took the opportunity to work on my Jagro body some more, and start work on my drum controller. About that, I was gonna get one of the many Pad 16 type things, and was just left with a nagging suspicion that I could do better myself.
So I ordered up a bag full of piezo buzzer elements and got to designing. I think I have something that will work for me. It will be somewhat left-hand centric, but should be fairly slick when it is done. I'll put the design up tonight or some such.
Outstanding ping-pong ball + wine glass robotic orchestra. Via Makezine. Go see it in person at 186 Orchard st. in NYC. Don't know if they've programmed any 3rd Bass in it, but that's the logical progression...
That, in any of itself, is a very good point. Check it. Personally, I find any band that decides to saddle itself with the "experimental/powerpop" tag to be tedious in the extreme, and No Age is no exception to that, not my cup of tea at all, but I'm not qualified to say whether they're good or not. I do admire their pluck, though; a frightful pain in the arse to haul all that gear down and set it up when you know you're gonna get harassed at the very least, probably get a ticket, and maybe spend the night in county booking.
I will say that the "anything for art" ideal has taken a beating in this day and age; it's nice to see the kids getting outside for a change.
I'm working on the cover art for the upcoming Micronaut album today, and it got me thinking about how incredibly strange this business has become in the last three years. I mean, here I am, making a 300dpi front image for an album that will never exist on this temporal plane in a manufactured form. I was waiting for a render to complete in 3DS Max, and I was like "why the hell am I doing this at print resolution instead of screen resolution?"
I suppose it makes a certain amount of sense to do it at print rez, in case I, like, go on tour and, like, wanna sell CDs or something wacky like that. Then at least I have it and don't have to do it over. But it just gave me a fit of the giggles. Why do albums even have cover art any more, when there's no cover? The image is simply a picture you get with your iTunes download that you can look at and say "hey, this is the image that goes with these songs." It is definitely an odd situation.
I am reminded of the River Run Project from Underworld, where each "song" (which was actually a single MP3 of four to five songs interleaved) came with a folder jam-packed with images. I'm still to this day not clear as to what the images were for, exactly, but they were kind of cool.
But I digress. My hypothetical question for the day is thus: how does one deal with the traditional accompaniments to an album, cover art and liner notes, in this day and age? My solution for Callisto is to put the liner notes on the appropriate page in the Positron store, and the "cover art" will be available in the store, and will come down with your iTunes purchase should you go that route. But this isn't the only way, or remotely the best way. Thoughts?
In any event, it got me pondering the nature of this business a bit last night. I was thinking that Audio Damage is in kind of an odd place, as while we're sort of largish, as far as the non-big-company plugin sources go, we're still small enough that the company has a very personal face. Or to put it another way, we have the sales and product line of a bigger company (like Ohm or PSP or whatever) but we generally act like the guys that make a lot of freeware plugs, inasmuch as you can talk directly to the person that makes the damn things.
(Does that make any sense? I didn't think so.)
But on to the larger point, which is regarding feature requests. As I stated in the KvR thread, we take feature requests seriously, but we don't usually add anything to a plugin unless a lot of people ask for it. There is a lot of reasoning behind this, but the simple fact is that changing the available parameters in any given plugin is a big deal. Some features that are requested (such as adding a control to the LPF in Dubstation) will actually change how the plugin sounds, and this is a Bad Thing, generally, as it will affect how a mix sounds if the plugin is used in that mix.
But the root of the issue is, I think, thus: you can write the guy that just put up a free VST and announced it on KvR, and say "hey, I tried your plugin and Knob A should control Parameter B in This Fashion" and he'll probably make that change for you if it seems logical to him. (I'd use a more gender-neutral terminology if plugin development wasn't such a sausage fest, but I'm not aware of any female plugin developers at this time.) So, since you can do that, you might assume that anyone that is easily available (e.g. us) will do the same thing, and be nonplussed when that turns out to not be the case.
We have a group of people we rely on, including at least one person from every demographic we're aware of in this industry, from the well-reasoned hobbyist on up to professionals that regularly chart in their genres, other plugin developers, and first-call engineers. This group of people get the plugins as soon as they enter beta (and in some cases they get early screenshots) and their opinions on features are regularly implemented long before the plugin ever sees the light of day. Using this method, we're fairly confident that when each plugin is released, it has a feature set that is appropriate to its abilities, and the controls that are present and the ranges under which they operate are as useful as we can make them.
Of course, this won't change anything if the customer has severe ADD or whatever (as was the case in this particular instance, I think), but I hope that it sheds a little light on how we do things.