Chris Randall: Musician, Writer, User Interface Designer, Inventor, Photographer, Complainer. Not necessarily in that order.
April 10, 2015


by Chris Randall

Just for fun, we did a run of shirts with the marquee art from a Robotron coin-op arcade machine reformated for our nefarious purposes.

This is a strictly limited item, and when they're gone, they're gone. US$24.00, which includes shipping in the US. ($1.00 shipping everywhere else.) Get 'em while they're hot.

April 2, 2015

A Little Context...

by Chris Randall

As you've no doubt seen if you follow me on Twitter or Facebook or down the street in real life or whatever, we've been busy shipping our new module, Odio, which is a little 2-in, 2-out audio interface for using iOS devices in your Eurorack kit. Entirely coincidental to this, but alarmingly convenient, Chris Carlson finally updated his excellent Borderlands granular synth for iPad to v2.0.

Never was a match more made in Heaven than Odio and Borderlands, as Marcus Fischer's post yesterday on his excellent Dust Breeding blog proved. I thought a little video demo of using Borderlands with Odio might be appropo, so after my shipping chores were done for the day, I busted the above out.

In the video, the analog synth melody is coming from my full boat of WMD/SSF modules I just got this week, the hi-hat is coming from our Mad Hatter module, and the speech synthesis is courtesy of a prototype module I'm currently researching that runs a full emulation of the TI speech synthesis chip. (In other words, those aren't samples, at least in the traditional sense of the word.) The whole mess is sequenced via Sequencer 1.

You can hear in the beginning that the synth line is passing through the iPad via the AudioBus app. After a moment, I instance Borderlands. Since Borderlands is a synth, and not a real-time effect, the audio is interrupted. I then flip to the Borderlands instance, and record a couple measures of the synth line.

After fooling with that for a bit, I then move the speech synthesizer's output from the mixer to Odio, and record a bit of it, while I'm twiddling knobs on the prototype. What happens after that should be pretty self-evident from watching the video.

Anyhow, I think the video shows how powerful the Odio/Borderlands combination is. If you'd like to see videos of other iPad-based software in use, let me know your specific requests.

March 15, 2015

Im In Ur Rack, Blinken Ur Lites...

by Chris Randall


Just got back from my trip to the Denver Synth Meet 2015. Pretty good showing for a regional meet, all in all. Saw lots of old friends, made some new ones, got some business done. No complaints. Here's a Flickr set of all the gear on display at the meet, if you're in to that sort of thing.

We showed our newest product, Odio, to the public for the first time at the meet. Odio is a 2-in, 2-out class compliant USB audio interface designed principally for using an iPad or iPhone with your modular. These will be shipping to retailers this week, and you can pre-order Odio at Control Brooklyn or Analogue Haven right now. Other retailers to follow shortly. It is a super-handy little module, and I'll have some videos up of use cases very soon.

In other news, all the ad-ab-01-based modules (everything but Sequencer 1 and Odio, basically) are in production, and will be back in stock at our retailers, and in our store and Amazon, within the next few days. And we just pulled the trigger on another run of Sequencer 1. All this building and shipping will give me something to do while Adam puts the finishing touches on the hardware design for our next product, which is a whopper.

February 28, 2015

I'm In Ur Town, Eatin' Ur Donuts...

by Chris Randall

Got some localized instances of Crandall to mention, in the event you want to come breath on me and bask in my effervescent glow IRL.

March 2: MAT Seminar Series, Santa Barbara, CA I am giving a talk at UCSB's MAT seminar series about product design. Apparently, they thought giving me a microphone and a projector and standing me in front of a bunch of tenure-track academics for an hour was a good idea. We'll see how that pans out. This is free and open to the public, and I'm given to understand that coffee will be served. I don't drink coffee. Info here.

EDIT: That one's in the can. Interesting experience. It's the first time I've given a "seminar" or anything, and I think it went over fine. It was strange seeing people that, you know, invented C-Sound and stuff taking notes. I am ill-equiped to get all erudite in that august company.

March 14: Denver Synth Meet, Denver, CO Audio Damage are sponsors of this event, and both Adam and I will be there with systems to demo. We will also (theoretically) unveil our next hardware product at that show. It runs from 10AM to 10PM, with live performances and, I can only assume, games of some sort. We will be giving our demonstration talk at noon. Tickets are $20, and $10 if you bring a synth. (No word on drum machines.) Open to the public. Info here.

April 18: Control, Brooklyn, NY I will be giving a full clinic / demo of Audio Damage hardware products, as well as a Q&A/grin-and-grab, at Control in Brooklyn on Saturday, 4/18. This is free and open to the public, and should be a fun event. This is my first return to NYC since the mid '00s, and the first time we've done one of these in-store clinic things; should be interesting. I'll put more info up as I have it; we only just booked the date.

February 15, 2015

Eurorack Drums For Maschine...

by Chris Randall

In my explorations the last couple days, I accidentally a couple kits of more-or-less traditional drum machine sounds for Maschine (software 2.1.2 or later) with my Euro stuff. Since I'm reasonably convinced this is the sort of thing that is of interest to the above-average AI reader, here they are. (4.3mb zip file.) It is a pair of kits with 15 samples each; I've utilized pad 16 in both kits for the Maschine plate reverb.

These can, of course, be utilized in any sample playback device; there are a pair of folders in the zip containing the raw samples. They will not have the benefit of the (generally mild) production in the Maschine software, as I didn't bake the effects or EQ or anything.


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