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

Archives: June 2017


June 25, 2017

Evolution of a Produkt...

by Chris Randall
 

In early 2008, I got it in my head that Audio Damage needed a multi-band distortion. Like most Audio Damage products, this one came about because of a personal need. I like the general idea of multi-band distortion, but at the time, there was only really one available, Ohmicide. To be clear, Ohmicide is a very good product, one that has stood the test of time. The problem was that it had a very distinctive sound; I could pick it out of a mix from a mile away. And this distinctive sound wasn't really conducive to what I was trying to accomplish at the time.

So after begging and pleading, and much rending of garments, I somehow talked Adam in to making such a product for AD. We decided on a very simple topology, with a multi-selector for each band's algorithm, a simple resonant lowpass filter, and our normal compressor code (as heard in Rough Rider), configured for a one-knob "moar" kind of situation. And Kombinat was born.



This was the first UI we did where there were procedural knobs; this is very much a hybrid UI, where I'm using a fake screen element to display the flat stuff. But you can definitely see how my mind was working at the time.

Anyhow, it did fine, in line with our other products that aren't Eos, Discord, or Dubstation. We weren't going to finally buy that volcano lair or anything, but it sold pretty consistently. Like Ohmicide, it has an unique character that is easy to pick out if you know what you're listening for, but being far less popular than Ohmicide, there wasn't as much of a danger of having That Sound. It worked for what I needed, so I was happy.

Fast forward to 2011. In the intervening three years, screen resolutions had been creeping up, and Kombinat, with its hard-coded selector image maps, was getting difficult to read. I also wanted to experiment with a truly flat user interface, something that, aside from Live, was not common in music software. I'm sure there were other reasons as well for revving Kombinat to a version two, but they aren't coming readily to mind. But the upshot is we decided to rev it, and this is the first UI I did totally flat. It is still image maps, but instead of filmstrips of 3D Studio Max knobs, we're drawing most of the elements procedurally. We named it Kombinat Dva, because "Kombinat" is Russian for "Combination," and "Dva" is Russian for "two."



Kombinat Dva added six more algorithms (including my favorite thing we've ever made, "Nerd Rage"), a second filter topology, and a feedback loop. Since the nature of feeding back on a ridiculous conglomeration of distortion algorithms and resonant filters would result in some fairly hairy tones, I came up with the (I thought) clever idea of giving the feedback loop an envelope, triggered off the input. Which is why it has attack and release controls. Adam was fairly puzzled by this, but he built it, and it works great. The feedback control makes the entire thing fairly unstable, and I'd frequently get customers writing asking could I please make the noise stop and why did I hate them and other such ponderings. I inexplicably decided it needed seventy presets, as well, which is about sixty five more presets than anyone ever uses. Go, me.

Anyhow, Kombinat Dva did significantly better than the first one, but still lived somewhere in the middle of the field as far as our product line goes. Six years on, and Kombinat is now the ripe old age of nine. Time for Kombinat Tri.



Tri is, of course, Russian for "three." So it makes sense and is clever on enough levels that I can feel good about myself. Which is all I really ask at the end of the day.

Anyhow, this version of Kombinat gets the JUCE-ified look that all the current line are getting. Since I did the new Dubstation 2 UI in plain black-and-white (just to see if I could, really), I went the other way with Kombinat Tri and made it very colorful. We also added what I call "the filter package," which is a conglomeration of all our current filters that I like for musical applications. The destruction algorithms are unchanged, but we went through and fixed a couple little things that were resulting in DC offsets that made some people unhappy. And finally, we added a mix control, something that is of incredible usefulness in a multi-band distortion, come to find out.

The UI, like all of the new ones, is resolution-ecumenical. In addition, like all of our current re-rolls, it picks up VST3 and AAX support. It will also get a standalone and AUv3 version for iOS in the near future.

For people that know what a useful tool the Kombinat series is, they'll be very happy with this update, which extends its usefulness while keeping the core Kombinat "sound" totally intact. For people new to the Kombinat style, well, they'll be equal parts frightened and surprised, as has been the case for nine years now. In the Audio Damage store now.

 
June 18, 2017

Eye Oh Ess...

by Chris Randall
 



There are two major side benefits of switching to JUCE for our plugin dev. The first, you've already met: AAX versions essentially for free.

The second, you're about to meet: iOS versions for moderate effort. JUCE 5 projects on OS X have two targets in addition to the bevy of plugin formats: AUv3 and Standalone. Both of these are essentially pointless on OS X, where the AUv3 is an actual step backwards, lacking everything but the most basic ability to talk to anything but the DAW. Standalones have their purpose, but mostly as synths. A standalone effect is about as useful as... well... nothing really comes to mind. I'll have to ponder for a bit to come up with something that useless.

But!

Switch that target from OS X to iOS, and we're on to something. AUv3 is the only audio plugin format allowed on iOS, and standalones actually have some merit. The screenshot above is Rough Rider 2 running as an AUv3 insert effect in GarageBand. These AUv3 builds will work in any host that can stomach it; right now that list is mildly limited: GarageBand, Audiobus 3, Cubasis (full version), and some others. The situation will improve quite a bit when Intua drops BeatMaker 3 on July 15, in my opinion.

Digressions aside, the only difference between Rough Rider 2 for iOS AUv3 and Rough Rider 2 AU/AAX/VST/VST3 is some mild fiddling with the UI to get it to cooperate in the context. It will run on any device that can run iOS 9.3, which is pretty much anything from iPad 3 / iPad Mini 2 / iPhone 6 on.

Rough Rider 2 is available now in the app store, and like any good drug dealer, we give you the first taste for free. If you run in to any issues at all, don't hesitate to drop us a line.

Grind is next in line, and is currently awaiting TestFlight review so the testers can get a piece of that action, but it is pretty much done. Once that's released, we're going to turn our attention back to desktops for a bit, so we can see how things shake out. I don't want to release everything for iOS, and then find out I did something terribly wrong. But once we're sure that things generally work, we'll push out Dubstation 2 and Eos 2 in short order. I don't expect any trouble building either for iOS.

If you're an iOS musician, I'd like to hear about how you feel about pricing. I'm of a mixed mind on this; obviously, these are identical to the desktop plugins internally, and require a bit extra work, so they should be priced accordingly. On the other hand, the iOS music ecosystem doesn't really have a place for a similar pricing model, and we're in a situation where people are expected to effectively double the price of their purchase to get a 12th format to go with the other 11 they already own.

I went through every AUv3 product I could find on the App Store, and I feel that, in general, plugins seem to be in the $5 to $10 neck of the woods. There are some outliers, but on the whole, that seems to be the case. I'm okay with this in general.

The other option would be to do it free, and have an In-App Purchase to unlock all the features. This isn't terribly complicated, but it does add some frustration to the proceedings, both on my part and on the consumer's part. So I'm less likely to look favorably on this, unless someone can offer a compelling argument in its defense.
 

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