Detritus 502



▶ Playable sound sculptures from obsolete test equipment by HAINBACH



Solar Punk?



▶ kinda interesting/GASSY MW thread: Modern Keepers ie what gear, made in the last five years is permanent to you? For me, glancing around my studio….& not counting modules…. hmmmm… Cirklon, Ebb und Flut, Buchla Music Easel, TT303 v1 + v2… But one comment on that thread made me search.. & then order: a BOONAR is on its way to the Antipodes!
Non-review to follow….



▶ also GASSY: legendary PS3100 TRIPLE VACTROL RESONATORS v2 with reduced HP available as full kit from Thonk – ordered! And such a great example of modulars genius: Maybe one day I will get to have a play with a Korg PS3100 but I will never have permanent access to one… but I can have one of the most juicy pieces of it!



▶ Blood, terror and bass: the heavy return of dub poetry



▶ insect insta follow: bee_nfluencer via design boom



▶ xkcd: screen time



OK Boomer!
(hah! I am GenX by just 8 months! OK Boomer!)
ps Chloe is awesome



Mixing Principles & Cinematic Mix (Reaper) Template by Chris Burgess – this article has a lot of useful info, but I especially like this idea, which applies to all mediums:

“Use the minimum sound gesture to accomplish your sonic need based on perspective (like a painting: from the right perspective, a smudge may be the perfect gesture)
This is very personal and abstract because I think about things in a visual nature. This serves as a check of what the story needs. I love the Foley work in Tarantino films and with my impulses unchecked, I may try to go to that level of detail in every scene. But that level of detail doesn’t work for every scene. Having an anchor to remind myself, what the “proper viewing distance” is and finding the right sound for that space and perspective is helpful for making sure “story is king” is always my top priority.


▶ Which reminded me of this great Walter Murch tip (applies to cinema/film)








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