Quote:
Originally Posted by
biomuse
β‘οΈ
The BS Police do have to swing thru even your neighborhood every now and then, pusher. Nothing personal.
Totally agreed, I'm not immune from any kind of scrutiny or criticism, and my hype factor is unabashedly high so fair's fair.
Quote:
Originally Posted by
biomuse
β‘οΈ
Convince me that this product doesn't already exist, albeit with a less artsy and more tweakable GUI...
I can't do that (literally, only you can make that kind of decision for yourself), and tbh I don't consider it my job to convince anyone of anything. My job is to make a thing, put it out there, do my best to pique people's interest in it, then step aside and let everyone form their own conclusions based on direct, personal experience.
I made similar 'one of a kind' claims about the Clariphonic, and that's still the consensus on that eq. Likewise with the UBK-1, it creates a movement all its own. I'm not interested in developing 'more me' products with Kush, I'm much more interested in trying to create genuinely new twists on otherwise-old things.
Here, it starts with the modeled behavior of saturating a magnetic field, but without any semblence of physical limitations. There are 4 different types of magnetic fields, each of which has different harmonic structures (one is mostly 2d, one is mostly 3rd, one is 2d &4th, the last 3rd & 5th). It turns out some very interesting things happen when the 4 fields interact and sum, there's a chaos thing. It's not actually chaotic, but there are so many interactive variables it's close enough to pass.
The tiniest tweak on one core can suddenly cause all 4 to 'collapse', or pop a completely new transient shape, or futz in an alien way. The way the Flux Drive and Bias interact with the 4 cores is pretty much impossible to put into words, and I'm not generally shy on words. I spent 12 months with my head up this thing's butt, and when I went to make presets last week I was still discovering new ways to bend sound with it, some beautiful, some bizarre, some a little of both.
This is my new fetish right now: taking a real-world process, modeling it, then seeing what happens when you push it as hard as humanly possible. If/when things get nasty -- and they always do --- I just tweak the baseline little by little until the place it broke suddenly sounds cool. Then I push it harder. Lather, rinse, repeat.
It's a strange career path, but as someone who's obsessed with tweaking sound with no particular reason or agenda other than exploration, it's incredibly satisfying.
Gregory Scott - ubk