Chris Randall: Musician, Writer, User Interface Designer, Inventor, Photographer, Complainer. Not necessarily in that order.
May 24, 2014
by Chris Randall
We unveiled this module this morning at the Muff Wiggler / Trash_Audio synth meet in Portland, and here's some info on Sequencer 1.
The astute among you will notice a passing similarity to the Elektron Analog Four, and if imitation is the sincerest form of flattery, we're flattering the fuck out of those guys with this little bitch. Here's some vital statistics:
• 36HP, 20mm depth.
• 4 banks of 16 patterns, each pattern can be from 1 to 64 steps long. The entire state (all banks and patterns) can be saved to SD card as a preset, so the memory is essentially unlimited.
• Clock input can be per step (like any other sequencer's clock), or 24ppq or 48ppq for DIN sync (via a simple 5-pin DIN -> 3.5mm adaptor). Clock output can be a staggering number of choices, which is handy if the unit is acting as the master clock. The Run input can be operated a couple different ways, as can the output. In short, it can interface to pretty much anything clockish, and can in turn drive pretty much anything in a clocklike fashion.
• Each step gets a 1v/Oct output, three CV outputs (that can each be either 0-10v, -5 to +5v, or 0 to +5v), a main gate output, and an auxiliary gate output. Gate length is programmable per step.
• The playback modes are forward, reverse, pingpong, pingpong with double end triggers, skip forward, walk, and random. This is programmable per pattern.
• There are several ratcheting features; you can program a ratchet of various lengths per step, or you'll note the 6 buttons labeled "REP." These will repeat, in order, the last 8, 4, 2, or 1 steps as a loop, or cause the step you hit them on to repeat in half or quarter time. (In the same manner that the MIDI triggers in Replicant work, basically, if you own that plugin.)
• As I hinted before, SD card for storage and OS updates.
There are many other deep features that I'm not able to talk about at this point. Our goal is to make the single most sophisticated sequencer available for Euro, and I think we've accomplished this already, let alone what we're adding as we go along. We haven't finalized pricing yet, or availability. We're hoping for US$599.00, and about two months. But both those numbers are subject to change.
May 10, 2014
by Chris Randall
It's getting tedious saying "holy shit I'm working a lot sorry for not posting blah blah" but you all know that, so I won't bother reiterating the point. On Tuesday next, me and the missus leave on a much-needed vacation to Hawaii for a week, and then Adam and I are off to Portland for the TRASH_AUDIO synth meet / Muff Wiggler store grand opening, where we will (as it turns out) definitely unveil the next Audio Damage Eurorack product. This bad boy is not an effect, nor is it based upon any existing Audio Damage product.
(Nor will it be entirely done by the time we get to PDX; we'll be showing a prototype.)
Some non-Audio-Damage news, in no particular order:
1. My new album is nearly completed. It's actually been nearly completed for a while now; I have two tracks left to mix, but due to the sudden influx of Work Related Time Suck, they've been in that state for some weeks now. I hope to have it finished by this time next month. It is a full album, unlike my last few releases, and I'm pretty proud of it. IDM, of course, but emphasis on the D instead of the I, for a change. (Read: four can be found on the floor for the most part.) It is, to not put too fine a point on it, full of techno.
2. Our good friends Standard Beat Co. have a new sample set out, continuing their Dark Downtempo series with the fifth installment, which you can and should purchase here.
3. I guess it's just those two things for now.
In any event, this is an open thread, and since a lot of projects tend to come out this time of year, if you'd like to take this opportunity to do some self-promotion or talk about what you're up to, that'd be totally cool.
April 21, 2014
by Chris Randall
EDIT: All done now. Thanks, everyone!
Also, a general update on the State Of Affairs with regards to all things Audio Damage. Adam is currently working hard on the next hardware product, which we hope to unveil at the Trash_Audio meet on May 24th in Portland. (No promises there; this product is far more complex than what we've previously released, and is proving somewhat reticent to being born.) While he does that, I'm dealing with the plug-in line for the most part.
With regards to that specifically, I have the DRM removed from the following products:
The versions of these products in the store do not require a registration code, and have no DRM whatsoever. Vapor is next, and so on, 'til they're all done. The DRM removal has taken a bit of a back seat currently while I work on the next product, which is nearing beta testing stage. The only thing I'll say at this point: it is a synth. The rest I'll leave to your imagination and detective skills.
So, that's where we're at. Back to the salt mines!
March 29, 2014
by Chris Randall
Like the subject says, our little algorithmic reverb module is now available for purchase at Analogue Haven. US$189.00. Other stores coming soon. The manual is on the AD site.
March 18, 2014
by Chris Randall
I was joking to my wife the other day that I have like five jobs right now. Which made me sob a little on the inside, because I actually do. In my ludicrous amount of free time, I'm trying to come up with the archetype mono-synth design. And I thought it'd be interesting to get some input from people that aren't me on this subject.
The mono is kind of a beast unto itself, and that platform is the source of some of the most enduring sounds in the synthNrrrd's arsenal, to the point where we refer to particular sounds not by the place they fill in the sonic spectrum (e.g. "squelchy, knocky bass") but rather by the machine that makes the particular sound best. (e.g. "303.") I find that interesting, because with other instrumentation, we don't generally dwell on the toolset used to create it (say, Strat through Fender Super Reverb) but rather we generally reference a player who used that combo ("I think this song needs a Stevie Ray tone...")
We do this with keyboards too, but much more specifically. The Hohner D6 Clav and "Superstition" are so intertwined as to be functionally synonymous, for instance. Likewise the Mellotron and "Strawberry Fields Forever." But by and large, these are still machine-specific references. P-Mac is hardly recognized for his keyboard chops. You never say "get me that Paul McCartney keyboard sound." You say "I want the Strawberry Fields Mellotron flutes."
Anyhow, how about it? I'm not asking for a running litany of everyone's favorite monosynth. Nobody gives a shit. What I'm wondering is more about the "why" of it. If you were going to make a mono, what would you absolutely require of it?