We're in the home stretch now. After fighting with the AU and PPC shit all week, due to some wankery in Apple's latest round of updates, everything appears to be running smooth on the OS X side of things. Adam is working on the manual this weekend, while I run the beta test, and assuming all goes well with both, we'll have a multi-tap delay for sale here in a couple days.
I have to say, on a personal note, this plug has taken a bit (okay, a lot) longer to make than most of our other offerings, but it is well worth it. While it seems rather simple on the face of things (and wasn't that the point?) there is a lot going on under the hood of this one. Unlike the everything-and-the-sink approach of something like Delay Designer or PSP 608, we narrowed the focus down to the most usable feature set. As such, I'll be the first to admit that Ricochet has a definite sound to it, unlike those two effects, which only have "vibe" if you program it in to them. This is the result of not having controls for every possible parameter, but rather making conscious design decisions, and only baring the controls that you literally can't live without.
Also, we departed from the normal multi-tap paradigm, where each tap is treated as a unique event (this is what leads to the masses of controls in most software multi-taps) and treated the five taps as a single event for the purposes of setting the time. The result of this is that, to people that use multi-taps a lot already, the initial programming environment might be a bit confusing. But once you spend a minute or two fooling with it, you'll see that it makes perfect sense to do it this way. You just have to think of the grid as the Event, and the five taps as the parts of that Event that you can control; you can also determine when the Event will happen relative to the initial sound. It sounds confusing, but a little hands-on experience will make it immediately obvious.
Anyways, enough equivocating. We've put a lot of work in to this plug, and are rather proud of it. I look forward (with a little trepidation) to the general response, but we're generally confident that we did the right thing here, even though we swam against the general plan a little bit. Look for it on Tuesday or Wednesday, barring any unforeseen problems. It'll be US$49.00, like all our bigger plugs.
Anyway, some interesting info there, if you're the sort that worries about such things. I'm not, personally. That's what "Quantize Audio" was made for.
The Atomica Project's new single "Gravity" from the forthcoming album "Greyscale" is now available in shopPOSI for purchase, in VBR MP3 and FLAC. Enjoy.
Or, in other words, is a "real" '62 $1000 better than a new '62? Gruhn has a '57 for $2650 and a '63 for $4K. I'm sure if I shopped about, I could find more, but they'd all be in that range, no doubt. Obviously, the older ones are going to hold their value better; that goes without saying. Since I'm not as familiar with Gretsch guitars as with other brands, I don't know. Feelings? Thoughts? Talk me off the ledge?
(a) Just stupid by itself?
(b) An example of how people that don't understand audio should stay away from making programs for converting formats?
(c) An example of how FOSS software almost always blows?
(d) All of the above?
I'll take what's behind door number four, Monty. I'm preparing to spend the day in format conversion hell, because of a stupid-ass console program that makes a redundant format that, for some bizarre reason, about 10 extremely vocal consumers prefer. In that light, FLAC and AU are disturbingly similar. I will do this, of course, but don't expect me to be happy about it. (In that light, FLAC and AU are exactly alike.)