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

Tags: Workflow


May 22, 2017

Stand Up, Sit Down, Fight, Fight, Fight! Vol. 2: The Reckoning...

by Chris Randall
 

Lo these many years ago (or maybe six years ago), I went and whittled myself a standing desk solution. All the cool kids were doing it, and it seemed like an excellent idea. I didn't, however, take one thing in to account.

If you read the original article, and pay attention to the fourth paragraph, you'll note that one thing I discovered early on was that I needed to get my monitors in direct line-of-sight. Not long after I moved to that configuration, I added a third monitor, a large Dell 10-touch monitor. (The first mass market cap-touch monitor available, as it happens.) This lived directly under the two original monitors, and you can see it in this configuration in many of my videos and photos of the last few years, as I've used this three-monitor system to good effect.

Anyhow, as it turns out, getting old kind of blows. Not long after I went to this configuration, I needed to get progressive lenses in my glasses. Due to the modular side of the Audio Damage Order Of Battle, I've spent a lot of time with my standing desk and three-monitor rig; when developing plug-ins, I work primarily on my Macbook Pro, and just lounge about the house or on the porch, wherever the mood strikes me. But the embedded dev needs quite a bit of infrastructure, and has to be done at my desk.

Since those monitors are basically six feet off the ground to meet my sight-line, I had to tilt my head back to align the reading portion of my glasses with the text on the screen. I didn't even really know I was doing this, but one day I happened to put the IDE on the lower monitor (normally, Live runs on the lower one so I can touchy-feely plugins, and the IDE runs on the upper left, while the upper right gets folder duties.) When it was down low, all the sudden my neck pain went away. Total accidental discovery, as I didn't know what the cause of the pain was.

So, in general, lessons learned from 6 years with a standing desk: if you can see well, it's a better way to work. It was especially nice during music making, when I'm moving about wiring shit up or whatever. However, if you have progressive lenses, it may be more trouble than it's worth. Take your pick: mild back pain from sitting all day, or mild-to-severe neck pain from leaning your head back to read the screens. I decided to return to back pain for the next while, and eject the standing desk.

tl;dr: my office went to bare walls last week. Today I was able to use it again. Sitting down. And it is much more orange than it was before.

 
December 27, 2016

Groove Experiments...

by Chris Randall
 



During the course of testing products, I often end up with more-or-less full patches. It is important to test everything in context; you can't just listen to something by itself and expect to just know how it sits in a mix. This is especially important for effects, as they generally end up far too thick for normal production if you don't test them in a song while you're developing.

Our next product is a Eurorack hardware version of our Eos plugin, and during the course of development, I built up a patch with several different sound sources; this morning, I was like "oh, that's almost music right there" and popped out a quick video. This, like most of my modular improvs, doesn't have much of an arrangement, but I kind of liked the feel of it. These sorts of pieces of music are not created with the intent of having a finished song, but rather to test something, and thus they tend to not have much Song to them. But if you know that going in, I think they turn out okay.

As is usual for me, everything is sequenced from Sequencer 1 and White Whale. The bass is coming from the WMD/SSF voice; the melody line is Noise Engineering LI -> our own analog filter prototype. The drums are Boomtschak x 2 and Neuron x 2, and the effects are the usual gaggle. The chord drone and found-sound voice are coming off the 4-track cassette, like normal. In short, nothing in this video you haven't seen a dozen times already in my stuff, but I think it's probably a fun insight in to my workday.

 
August 14, 2016

Tech Time No. 006: Fun With Contact Mics...

by Chris Randall
 



Part of the problem with having been in this business so long is that some of this stuff seems really self-evident to me. Someone in one of the Facebook groups I follow asked about this contact mic shit, and several others chimed in to say "yeah, that'd be dope!" and I happily complied. The problem is that I don't know how basic to make it.

I think I struck a happy medium here between showing the basic techniques and showing some stuff that more advanced users might find interesting. I'll let you be the judge. Let me know in the comments.

 
July 23, 2016

Full Of Techno: Push 2 And Simpler...

by Chris Randall
 



This week's Tech Time is a more sophisticated version of something I touched on in the last Push 2 / Modular video, making polysynth patches from a mono analog. I show my whole workflow, from initial sample to laying it in the mix.

The channel is starting to get a little momentum; I'll do my Cranky Old Man video on Sunday.

 
July 16, 2016

AI Weekly No. 003 - Battery Acid...

by Chris Randall
 



Super busy this week shipping the restock of Sequencer 1, the initial stock of Shapes, and generally moving cardboard around my living room. So just a shorty.

Note that I will be in PDX on August 6th at 2:30pm at Control Voltage, along with Scott Jeager of Industrial Music Electronics. Facebook event page is here.
 

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