Chris Randall: Musician, Writer, User Interface Designer, Inventor, Photographer, Complainer. Not necessarily in that order.
February 15, 2015
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.
February 12, 2015
by Chris Randall
Better late than never, right? My optimism about doing this at NAMM was ill-advised, and then when I got home from NAMM, events conspired to keep me from having time. Today, I finally had the opportunity. So, blatantly disregarding the level indicator on my digital recorder, off to the desert I went. Here's your answers. Enjoy!
February 10, 2015
by Chris Randall
Just having some fun out on the porch today, thinking about what a Euro/tape rig for live performance might encompass. Many different organizations and promoters have asked me to perform modular sets in the last couple months, and I'm just poking around, thinking about how I might pull that off, in the interests of due diligence. Since some of my methods are a bit old-fashioned, even for the modular crowd, I thought it'd be interesting to some of you if I rolled camera while I was noodling. There's no musical statement here whatsoever. Just peeking around the corners, until inspiration either strikes or doesn't at this point.
Now, that said, I don't have any particular problem making process videos, if that's something people are interested in. I use a lot of techniques that used to be commonplace but are much less so now, and perhaps people find that sort of thing intriguing? I'll let you guys be the arbiters. A vote for "more process" would essentially result in tutorial videos with me extemporaneously blathering on about a particular technique. A vote for "less process" would essentially result in the usual "hands" videos I put up all the time.
Side note: I know I haven't done the 10 Questions answers yet. I'm a shit-heel. Wednesday or Thursday.
February 5, 2015
by Chris Randall
As those of you who follow me on Twitter know, Audio Damage has entered a partnership agreement with Splice. As a result, most (soon to be all) of our products are available for purchase within the Splice interface, directly from Splice. If you sign up to Splice and invite two friends to join, our monosynth Basic will be added to your account for free. The details are on the Splice blog.
This is an interesting time for us; back when we only had a couple plug-ins, many of you will remember we entered in to a similar arrangement with Cakewalk. But the difficulties of managing licenses and what-not proved to be more trouble than they were worth, and we ended up ending that partnership nearly 10 years ago. (I still get support email about Cakewalk transactions, almost a decade later.) Since then, we've been approached many times to enter in to various sorts of agreements, from the plain-Jane reselling of the hideously-named Don'tCrack, to some incredibly Byzantine arrangements that, as one would guess, never got off the ground.
The difference here is that the Splice guys are cool, and they understand the Audio Damage Way Of Things. The service itself is a cloud-based backup and collaboration tool, but it deals in sessions (Live, Logic, Cubase, what-have-you) rather than individual files. It also has a social aspect, with the ability to share sessions, stems, and mixes in a manner similar to other music sharing services.
All in all, this is an interesting thing, and we hope good things come of it. One note: if you purchase one of our plug-ins through Splice, we will, of course, provide full support just as if you bought it through us. However, the license and its management are handled by the Splice interface and their support staff. Long story short: don't buy it on Splice then write me asking if I can move the license to your Audio Damage account or something. That'll be fun for me, like, once. When a plug-in is updated, your Splice interface will inform you. (In that regard, it's actually better than our system, where you're on your own as far as being informed of updates go, unless you follow me on Twitter.)
January 26, 2015
by Chris Randall
Okay, I know long-time readers are used to a daily NAMM round-up, wherein I make biting comments about the latest and greatest from our fine business. Long-time readers also know that I'm not, as a habit, an exhibitor at NAMM. That all changed this year.
I'm not going to apologize for not walking the floor and trying out every new thing under the sun. While I would have greatly enjoyed doing exactly that, the simple fact of the matter is that it was virtually impossible to make the time. Not only was I generally tied to the Audio Damage booth, but this NAMM was unusually crowded, at least relative to the last few I've been to. And the Eurorack format is really exploding. At this rate, we'll have an entire hall in two years.
So, as I say, I was unable to either poke or prod any new things. The only instrument I did spend a total of about 45 seconds with was the Sequential Prophet 6. That was long enough to decide it was the modern analog synth of my dreams. Keybed: great. Control surface: great. Sound: great. I saw almost nothing else during the show, I'm sorry to report.
We did get a lot of good business done, which is, I guess, the point of the operation. We discovered that both Adam and I are really shitty at giving demos and doing sales pitches. Adam gets in to the minutia of the device so quickly that the potential customer's eyes glaze over, while I take a more patronizing "well, it's shit-hot, and you should buy it, unless you're stupid or something" meta-approach. We will, in the future, be paying Jeremy Highhouse to do our pitching for us, because we suck at it, plain and simple.
I had big plans to film the 10 Questions answers on the show floor, but a raging bout of insomnia that waylaid me for virtually the entire trip kept me in this sort of strange FML zone that prevented me from being extemporaneous, at least in any intelligible fashion. I'll do the answers in the next couple days.
Anyhow, if I was able to meet you during the week, rest assured that I think you are both handsome and charming, and I'll tell anyone who asks. Don't bother posting anything like "hey, did you check out the new DeeJay EZ-Tron 5000 XS?" because I didn't.
A very special thanks to WMD for organizing the group booth, and to Stan Cotey and Fender for saving our bacon in at least two ways. When the largest American music equipment company takes time out of their ludicrously busy show schedule to help out one of the smallest, it makes you feel good about the future in general, and this business in particular.
(Side note: those in the general know of things might view the previous paragraph as an attempt to lay the blame for the noise warnings WMD received at Fender's feet. NOTHING COULD BE FURTHER FROM THE TRUTH!!!)