I stopped a few places along the way hoping to see a Kea, and gave up….
only to find one at the cafe at Arthurs Pass!

Arthurs Pass

Arthurs Pass has been closed for the last few days due to snow, so I paced my trip hoping it would open today….and luck was on my side!

Back street








Inner city Wellington NZ
XPAN2/TX2 + 30mm lens + FormaPan400
(click image for full size)




The Fog

I shot a lot of photos in the fog yesterday morning…. Looking back through them the most extreme were the ones mid morning, the sun was starting to cut through the fog… and I drove around a corner & saw this:

It felt like a 1980s horror film, where they had put a 10k light behind the trees…

Same shot, slightly different angle – now it feels like ETs spaceship has arrived to pick him up!

A little further along I came to this, where shards of light were cutting through the trees & fog… amazing to see light so physically, like you could walk up to it & scoop some up in your hand

Titirangi Bay

Drove up & over to Titirangi Bay, Pelorus Sound – was a great drive up through forests, to 850m and then suddenly the bush ended & was left with this view!!

The road down to the beach from here was a slightly vertigo-inducing single lane farm road… sheer drops off the side!

field recording today!

St Omer

Saving all my best shots of the shipwreck at St Omer for due process….
This was on the way back to the car…

5D3 + Zeiss 21mm lens + Lee Super Stopper long exposure….

me & Bela

For an hour or two this morning, it felt like I had stumbled on to the set of a Bela Tarr movie…

that tree agreed…

as did this power pole

Kenepuru Sound

Edible art

Late afternoon light in Kenepuru Sound…

the grid is either:
1. an art installation
2. a mussel farm
3. some combination/edible art

The Fog

Woke up to fog filling the sounds,
drove to nearest bay (Picnic Bay)
& flew out to shoot this, my favourite shot today…

the wide shot

And the ‘400mm lens on my 5D3’ shot

wish I could have flown a film camera out there…

c’est la vie


Road Trip!

Sunday 7am, what are you doing?

I am getting in the 4WD and driving into Wellington to catch the ferry to the South Island
The next three days will be spent in the Marlborough Sounds – this part of NZ:

As an area of land, in the wide shot it doesn’t look that complex but given the size of the three main islands that make up New Zealand, that little area of the “Marlborough Sounds” makes up 1/5th of our entire coast line! If you dive into Google maps, or even better Google Earth in 3D mode and start investigating, you soon start to realise how complex the ‘sounds’ are…

So whats my motive?

1. HMS Sparrow, a shipwreck at St Omer
which is about a 2 hour drive on windy, gravel roads from Picton

I’ve visited & shot it before, by water taxi from Havelock (45min trip each way) and while that was an amazing experience I really want to be able to spend more time at the wreck – different tides, different light, different weather. Its an important shipwreck for my book project, and I can’t wait to revisit it…

2. Shoot the sh+t out of the whole area!
This area & these landscapes are geographically awesome – again in 3D on Google Earth or via Topomaps you soon appreciate how dramatic this landscape is. Last time I was in this area I didn’t have such a purposeful motive…

or the tech I am now travelling with:
– 3 film cameras (Fuji TX2/XPAN2, Contax T2 and Canon 1V)
– 3 digital cameras (Canon 5D, 40D ir & Sony a6300)
– 2 drones (P3P and Mavic Pro)
– 2 recorders (Sound Devices 788T + 722) & 8 mics (MKH8040 ORTF + MKH8020x2 + MKH70x2 + BB Contact Mics)



3. Record material for HISSandaROAR libraries
I am slowly recording/accumulating specific new material for 3+ HISSandaROAR libraries



And for all of the above, ditto for the next 3-4 weeks!



This is my road trip plan:

Needless to say, the best travel (& opportunities) requires being flexible….
So I will travel most of that red line but the order is to be determined!

On a more philosophical level: as much as I LOVE post production & working in my studio, nothing excites me more than doing trips such as this – it is for me, the best mental & physical health boost!

Every day is an adventure & a creative challenge: how best to make the most of the opportunities? And how best to create the best opportunities?

It is part instinct,
part research & local knowledge,
& part passion.

Shooting shipwrecks in Motueka, Lyttelton, Dunedin/Otago Peninsula, Bluff
& catching up with friends & family

Snow further South?
Hoping so…

Batteries charged? YES
Gear prepped & packed? YES
Tide charts captured? YES
iPod loaded with new music & audio books? YES
Good food & drinks loaded? YES
A vague plan? HELL YES!




And a caveat: I will be in & out of cell phone coverage for the next month.
Worst case scenario = 20 hour delay replying to urgent emails…

Aerial view

1950 Chev

1951 Austin A40 Devon

Todays shoot

Dropped 9 rolls of film off to the courier this afternoon..
Here’s a few digital shots in the meantime

infrared 1950 Chev

infrared 1946 Vauxhall 14-6

Slice of history

Went & did a recce yesterday to a location for a proper shoot when the weather is better, hopefully tomorrow morning if the forecast is right! This was shot with my 5D3 but will be primarily shooting my TX2/XPAN2 with Tmax100 and Contax T2 with TriX400


I finished recording the next HISSandaROAR Ambience Library, RAIN, as have now max’d out the ProTools timeline = 24 hours of mostly multitrack recordings! Recorded over the last 5+ years, in 3 different countries…

I asked on Twitter and I will ask here too – do you have a favourite film scene that is set in the rain?
Happy to be reminded of more than a few classics: Bladerunner, Seven Samurai, Solaris, Forest Gump, Jurassic Park, The Shawshank Redemption, Magnolia, Road to Perdition, Se7en, Totoro, Eternal Sunshine of the Spotless Mind…. any others?




5D3 + Zeiss 18mm ZE
no need for a drone!

rePost: The Art of the Reveal (from 2009)

I’m fascinated by the Japanese word ‘ma’ – partly because like many Japanese cultural terms it defies translation (eg see Marcel Theroux’s cornball attempts to learn what wabi-sabi means) but here goes a vague attempt: wikipedia tries to define it as negative space, or as a “gap”, “space”, “pause” or as “the space between two structural parts.” But as this post on Mefi illustrates, thinking of it as a negative space is not intrinsic to its meaning. A perhaps better definition: ‘Ma means an interval in time AND space, but it is much more than just a blank space. When ma is used in conjunction with the arts it relates to rhythm (it was originally a concept related to music). It can best be described in theater as a dramatic pause in spoken lines, in music it is interpreted according to each musician’s taste and how one wishes to space the notes. In painting, the empty space (ma) is used to enhance the whole of the painting.’
But the definition that has intrigued me most, since reading it years ago (& I am damned if I can find a link to the source) is this: “Ma, for its part, is generally translated as “space,” but it can also mean “time.” It refers to the space between events, as it is being perceived by someone, as well as being expressed by an artist. It is not an abstractly calculated space, as is conceived by Westerners, but rather a sensory, and I would even suggest, a “sensually” perceived space.
An example will better describe this concept. Let’s say you are invited to attend a tea ceremony. You enter the tearoom. The room is quiet and almost undecorated. It has a distinct meditative feeling. You notice in one corner of the wall in front of you all the necessary equipment and utensils for the tea ceremony. There might be an empty square covered by sand in the middle, instead of the traditional tatami (straw mat) over which, hanging from the ceiling, could be a metal pot. You turn your head to the left and you notice behind you in the corner of the wall the calligraphy of an old haiku. Below it stands a flower arrangement. Beside it hangs a beautiful kimono. When you entered the room, you noticed first the tea ceremony equipment because they were the most striking, but upon investigating the room, your eyes gradually noticed these different elements of decoration, some of which even took you by surprise because they were subtly placed out of sight.
The ma refers to that perceptual space between each of the elements that your eyes encountered while gazing through the tearoom, intentionally created in this manner by the designer of the room. Each of these elements purposefully solicited your mind in a timely manner since your senses do not notice all simultaneously, but one after another…. The ma is thus the perceptual space as our eyes notice things that entice our minds to wander and wonder upon each of these items. This flow of time is part of the concept of naru, as your discovery of the different elements gradually adds to your experience of the room. Their arrangement within the room, and between each other as you gradually attend to them, is deliberately created with this purpose in mind. In this sense, the ma refers as well to how the artist or designer aesthetically succeeded in creating this sensory and sensual impact through this particular arrangement. In music, ma refers to the silence between musical phrases, as well as how each of the phrases is performed.”

Before I ever read that description, or even knew of the term, I experienced something akin to an element of the same concept in Japanese architecture; what I began to call ‘the reveal’. The first time I went to Naoshima, a small island in the Japan Inland Sea, was purposefully to visit the art gallery designed Tadao Ando. I hadn’t experienced his work before, but in my research for the trip what I had seen in books was so strong that it prompted me to pursue the experience. When you arrive at the gallery (the Chichu Museum) you first park a few hundred metres from the entrance & purchase a ticket & are briefed on the rules of entry (no photographs etc) and then walk up the road to the entrance.

Walking past the gate, you come upon a concrete wall with a door, built into the side of the hill. As you walk inside you enter a lift and then descend a floor, and in the process realise that Tadao Ando is now in control of your senses. And what a master he is! Just a simple example, walking along a long corridor that slowly amplifies your senses via its minimalism (bare concrete walls, natural light entering via hidden recesses) you approach a larger space…

And around that corner is revealed to you, as though in a postcard, the entrance to the Monet room.

Now Monets painting are beautiful to see in any appropriately lit space, but here they are sublime. But what struck me repeatedly as I explored this amazing gallery (& its worth noting, there is no electric light in the gallery at all) was this concept of Tadao Ando controlling my perceptions & revealing to me the contents in a beautifully controlled manner. As I experienced more of his work & other Japanese architects I became more & more interested in what I called ‘the reveal’ but which obviously had far deeper cultural meanings…

So I have a vague sense of the term ‘ma’ but what is a reveal & how can it be applied?
Definr provides two meanings for the word reveal: first ‘to make visible’ and second; ‘to make known to the public information that was previously known only to a few people or that was meant to be kept a secret’

After leaving that Chichi Museum totally buzzing I remember thinking it was a little bit like Tadao Ando held in his closed hand the most exquisite jewell, and he slowly opened his hand to reveal it to us… But of course I began thinking as to how it applies to music & sound and not coincidentally the first post I ever made on this blog, back on 18th Sepetember, 2006 was a quote from Goethe which I have used for the last decade or more as my email signature: ‘I call architecture frozen music’

So to state my case, I am less interested in buildings that look like frozen music than I am the reverse. How can the deeply resonant creation of such beautiful architecture influence the creation of music and sound? Now there is no answer to this question, its a life long exploration, but visiting the Chichu Museum then & on repeat trips has kept me thinking about the reveal. In music the most simplistic reveals are those that are immediate. All songs reveal themselves to the listener, under the control of the composer & the mix, but two recent tunes I heard made me think of them as great examples of establishing a mood (walking down that darkened corridor) and then revealing the true intent (turning the corner). The first use of the reveal is what is often termed ‘the drop’ in dubstep; the tune is by Shackleton – In The Void; it beautifully sets up the beat, but just wait for the drop @1.35

An example from a different genre is via the Warp artist Bibio in the song Lovers’ Carvings which starts out almost as a folky guitar song, but @1.28 reveals a beautiful mood shift.

I think what I am talking about is primarily to do with a specific aspect of structure and form – my examples are in music but undoubtly it occurs in all art forms, obviously including film (on a moment by moment basis, but also in the transition between acts) but also in experiencing nature,as James Turrell explains in an interview;

Places: The only way you cannot engage places that have power is by leaving them … but does one’s arrival play a role?

Turrell: The Grand Canyon is one of those places. It’s possible to come up to the canyon in such a way that you don’t even know you’re arriving, and then suddenly burst upon it. I like to fly up the Colorado River to this canyon which you have to climb into through a tiny valley. I fly through the bottom of that valley in a slow climb to a small opening; as you fly through the opening, boom, suddenly you’re in it, and the ground falls away for 5,000 feet.
So the approach can order your experience. You can come in through the side door of one of the places we’re considering and have a different experience than if you enter through the front door; you can reorder it as you get in, but entry is important. We do learn in this culture not to see afterimages. But in any situation your previous experience is important. If you went from a rather pink room into a very pale green one, at first the intensity of the green would be very high because you loaded that green room with a green afterimage that came from seeing the pink room. Size matters too. Coming through an opening into a big space – in Canyon de Chelly, for example, there are some areas like this. Conversely, there are natural places that wouldn’t have power were something manmade not there. Borobudur and Split have this quality…. I think one of our greatest conceits is to feel we’re not a part of nature. We feel victimized by technology. Well, we’re technology. It’s as though the coral that creates the Great Barrier Reef were appalled by the coral. The Great Barrier Reef is coral. We build cities, and that’s what we are. We’re crustaceans that make these shells we inhabit. You can see New York from space about as well as you can see the Great Barrier Reef.”

Form in music is fascinating, especially once you step outside the verse/chorus structures of traditional or popular song writing. I’ve recently been reading a book called Arranging Techniques For Synthesists by Eric Turkel and it has a great section on Form, heres an excerpt:

Form is one of the more difficult of the six musical elements to define or describe. We don’t ‘hear’ form; we feel it. We are least aware of form when an arrangement flows from introduction to ending in an exciting, engaging way. We occasionally become aware of it when sections don’t flow together and end up with a sense that something is missing or not connecting. Form is like a blueprint from which we develop a solid structure. Weak form leaves us with a feeling on incompletion caused by a flaw in the blueprint, which inevitably leads to structural damage.
Form is the division of space or time into units or distinct sections. We set these divisions up at specific lengths for technical and aesthetic reasons. Form is the silent yet pervasive force that holds an arrangement together….

Over the years I’ve come across many means of visualising music, most purely as a means of entertaining the eye but the Shape of Song serves both that purpose and as a means of helping to identify form in music, check it out (you can also upload MIDI files of your own to analyse)

Erik Saties Gymnopedie no.2

Kraftwerk’s Pocket Calculator

Bjork’s Human Behaviour


Today I was checking out the new Spitfire Orchestral Kontakt library, BERNARD HERRMANN COMPOSER TOOLKIT and while it was downloading (136GB!) I started watching Youtube videos about Herrmans iconic scores…. Many of those films I first experienced before I knew anything about film scores or sound design or anything… Anyway this isn’t one of them, but it is related & it makes me appreciate Thomas Newman even more:

I really appreciate the part at 15.50 about the motivation for a music cue… landscape versus character… & the issue of redundant music! I went & saw a film in the theatre the other day and from the first frame the score was over-used and totally over bearing. In a 90 minute film there must have been 70 minutes of music or more… and about 80% of it felt redundant! (I don’t necessarily blame the composer as its impossible to know how the film arrived at its final form)

On a lighter note, how freaking great is this!

What a great job that teacher is doing!

nuzic 35

▶ Island People on Raster Noton Media


▶ Floating Points – Kelso Dunes via Bandcamp
(love “Lucerne Valley” too, but couldn’t find anything embeddable….. grrrr…. )


▶ Carl Craig – At Les (Versus Edit Version)


▶ Carl Craig – At les 1997


Detritus 425


▶ Get your two-factor authentication on!


▶ Fascinating infographic: alone time, by gender & age


▶ any Numerology users here? I’ve been digging into it recently & thoroughly enjoying it – really satisfying to write/create music in a different paradigm to the usual piano roll/tracks scenario…


▶ Ellen Fullman: how to play a 100ft stringed instrument


▶ “Tools are useless if there is no purity of vision.” – guess the artist?


▶ ‘What will survive of us is plastic’: beautiful photos of beach detritus


▶ Thanks to SonicCoutures summer sale I’ve been jamming out with their Electro Acoustic drum machine instruments for Kontakt – brilliant ideas, check it out: beatboxes in space!!



5D3 + EF100-400L lens


Pīwakawaka/Fantail launching into flight

Reasons to shoot JPG+RAW: this is how the JPG came out

I had ISO cranked to reduce exposure time, to freeze movement…
shooting into light = totally blew out

Sport Mode

Revisited my favourite EXT recording location today, to capture my DJI Mavic Pro – its a great little drone, but holy sh+t when you put it in sport mode look out!!! Free update coming next week for HISSandaROAR SD024 Drone library



5D3 + EF100-400L + gumboots

nuzic 34

▶ biome bandcamp


▶ orchestrated version of Daft Punks Harder, Better, Faster, Stronger


▶ Singers & Players 10″ version


▶ Porter Ricks – Port of Tangency


▶ AR album cover!




Poaka aka Pied Stilt at Pauautahanui today
Canon 5D + EF100-400L lens + 1.4x extender + gumboots


Kōtare aka Sacred Kingfisher at Pauatahanui today
Canon 5D + EF100-400L lens + 1.4x extender + gumboots

Nagra gif

and more testing…

nuzic 33

sorry, i’m not actually going to post any new music right now

i just wanted to take this moment, about half way through 2017, to identify the fact that

this year has already seen a phenomenal amount of great music released!

i have to wonder,
is it a symptom or reflection of the turbulent times in which we are now living?

you do not need to be a rocket scientist (or even a political scientist)
to wake up each morning, casually check the news & think to yourself

how did we get here!?

we’re only half way through the year and we have already been blessed
with more than a years worth of great new music!

“is music political?”

does a bear shit in the woods?
its the wrong question to ask,
try this:

“does music reflect our times?’

how could anyone answer, other than to say
“yes, of course (to varying degrees, but..) of course, yes”

every new year, I make a new folder in my music library: 20XX keepers
and my 2017 keepers folder already has more music in it than previous years

I guess if you can’t change global reality for the better,
the next best option is to change our own reality
and what better way to do that than to crank up your sound system!

Vive la révolution!

at 33 or 45rpm


New HISSandaROAR library due for release next week!

I have also just published the results from the first HISSandaROAR Sound Design Challenge, check out the winning 25 entries HERE – very well done everyone!!

And if its of interest, I made myself do the challenge and posted my process & results HERE

nuzic 32

▶ Peverelist – still early


▶ first new Porter Ricks album in 17 years Anguilla Electrica gets released next week,
pre-order/listen here


▶ Jóhann Jóhannsson live on KEXP


▶ Don’t DJ – Pornoire (interview at ableton here)


▶ The Ecstatic Music of Alice Coltrane – bandcamp


Detritus 423

▶ a beautiful read: The Compositional Possibilities Are Endless by Else Marie Pade
(play this vid while you read)


▶ loved listening to Gilles Peterson discuss the evolution of music with Fabio today.. made me dig out my Photek vinyl… and Metalheadz… listen here


▶ Redditors design worst volume sliders possible


▶ overthinking a problem can hinder creativity… cos science


▶ you can hear and see meteors at the same time! who knew!?!


▶ too funny!


▶ i made a meme!


nuzic 31

▶ new Ladi 6 EP via bandcamp


▶ Sigur Rós live from the Walt Disney Concert Hall, Courtesy of the Los Angeles Philharmonic Association (with new multi-track mastered audio mix)

0:00 – Á
7:39 – Ekki Múkk
15:24 – Takk…
17:45 – Glósóli
24:00 – Hrafntinna
30:30 – Niður
35:50 – Fljótavík
40:00 – Starálfur
45:47 – Festival

Sigur Rós solo:
54:20 – Sæglópur
1:01:30 – Ný Batterí
1:09:40 – Vaka
1:16:23 – E-Bow
1:25:25 – Kveikur
1:31:20 – Popplagið




Sunset 20170608

Plimmerton sunset tonight…
5 minutes later and it was gone

DJI P3P 4 photo stitch at 90m




Tock Tick

ex BBC

citation required




“The bitterness of poor quality remains
long after the sweetness of low price is forgotten”

Benjamin Franklin





OK once this post appears it means DNS has made its way through the tubes & pipes of the interwebs and this blog is migrated to the new VPS….


Detritus 422

▶ I don’t have any great issues with Facebook – it is what it is… but for a platform to be so all pervasive, its behaviour and functionality at times is surprising… Here are three such examples:


▶ “Welcome to the next phase of Facebook privacy backlash, where the big fear isn’t just what Facebook knows about its users but whether that knowledge can be weaponized


▶ also, WTF? Facebook’s internal rulebook on sex, terrorism and violence


▶ also, Why I Can’t/Won’t Point to Facebook Blog Posts


▶ NIME’17 – O Soli Mio: Exploring Millimeter Wave Radar for Musical Interaction


▶ “when I see the lines I can tell who did what” #anime


▶ reverse engineering ‘A Day in the Life’


▶ To Cite or to Steal? When a Scholarly Project Turns Up in a Gallery – funny thing is, the recent work that is claimed as plagiarized from 2013, seems very similar in concept to a series of photos by Hiroshi Sugimoto that date back to the 1970s… careful with those accusations!
via metafilter


▶ Rebecca Solnit nails the orange one:


▶ by Kim Kichul


▶ love this Q during an AMA w Goldie
“What motivates the presence of orchestral music in the claustrophobic urban spaces typically defined by your musical work?”


▶ great MW thread: Unsung/lesser-known software for musics?




Just a word of warning: I am currently migrating my server to a VPS…
So don’t be surprised if this blog & my other sites go offline or act a bit wonky for a day or so…
DNS changes take time to permeate, c’est la vie!

Seagull mode

my life goal of becoming a seagull moved a step closer today!


Luminous sound

Buchla Music Easel via Canon 5D3 and EF100L macro lens

nuzic 30



Zola Blood – Islands


Low live from 2002



#believeinfilm? why film?

I was thinking about the deeper ramifications of shooting film and today picked up some prints and a few things became clear…. So here is my own personal reasoning & motivation for shooting film….
And don’t get me wrong, I love digital and still shoot with it – I am not a luddite and tend to disengage when people start debating as though it is an either/or issue. The key in any creative endeavour is to learn & use all the tools and then use whatever best suits the individual project…

For me, there are a series of discrete moments of joy associated with shooting film:

1. Taking/making the photo

After observing my use, I have come to the conclusion that shooting film means I take less, but better photos. And frankly that is my creative modus operandi/aim in life: less, but better (borrowed/inspired by Dieter Rams amongst many, many other clever creative artists, film makers, photographers, musicians and people)

This is an important and profound difference to how I shoot digital. With digital I take a lot of photos. I tend to rapidly spray a location with photos, stopping to chimp at the tiny LCD screen occasionally & then shoot more… and more… And I only feel committed to a photo when I slow down my process and work harder eg shooting long exposures where each photo might take 2+ minutes.

Creatively film feels like an important progression – think/feel it more, work harder to find the photo and commit to it. This difference is also summed up perfectly by this image:


2. Getting photos back from the lab

This is the moment of truth – did I mess up? how does reality match my memory?
The first film camera I bought, failed me – I shot a test roll and it came back blank i.e. the film did not engage. After I recovered from the disappointment I came to the conclusion I would not be using that camera ever again. And it was only when I had researched enough to choose a better film camera which verified film loading & advance, that I felt confident enough to proceed further. But I still had butterflies in my stomach when I went to the lab to pick up my first test film from my second, better camera…

Most labs provide scans, so I am seeing my film photos in a digital form but unlike the use of emulation, actual film scans to me feel far more truthful. A few digital cameras I have owned have options of film emulation built in, but I have never used them… And nothing makes me cringe more than the digital fanboys who consider film a waste of time as ‘it can be done in Photoshop’ without appreciating that word ‘can’. I can also become an astronaut, that is not an achievement. It is not that you ‘can’ do something – it is whether you actually do it, or not.

Choosing a film stock to shoot on is not an accident, it takes experimentation and experience. Instantly flicking through filters in Photoshop or Lightroom does not compare – technically it does not compare but far, far more important it does not compare creatively or aesthetically. If its so easy to change, and undo, just how committed to it are you? Maybe not at all, maybe profoundly, maybe a whim, maybe not. But it does not compare with the moment of truth when you first see scans of film you have shot, and the feeling you get from the particular rendering of a film stock. It really is alchemy!

Going back to that test roll on my second film camera (Contax T2) this was what I saw when I nervously opened the package:

To say I was overjoyed is an understatement. Not only did the photos come out, they looked fantastic! And in that moment I instantly started to learn about film stock – look at how Ektar renders the blues and greens! Wow! As I drove home I started to reflect on this feeling I was having – I searched my memory of shooting digital for the previous ten years, to find a memory of similar magnitude, and I could not find one. Could the challenge of film be more personally rewarding than digital? For me, it sure is.


3. Seeing prints

I have come to learn this is the ultimate delayed gratification. Having sucessfully shot film, had it developed and selected the best shots, getting it printed is a joy! For example 2 days ago I finished doing outputs from my recent road trip North (digital shots ex drone and 5D3) and I also output a selection of film scans and sent them to the printers – I have been using INK in Wellington and highly reccomend them. Today at lunchtime I raced into the city and picked up my prints – again the butterflies…
Again the excitement and again the gratification…

I am slowly & very deliberately now working towards a book release, and am very excited to have a publisher onboard… And seeing my photos as prints is really a major step towards that goal, especially compared with the many years of folders full of digital photos on my hard drive and screen….

At a request from a local I also got an A0 print made of a stitched drone panoramic photo Little Planet of Plimmerton – you may have seen it before as I have posted a screen rez version…. But it is quite something to see it printed from the high rez source file to a print over 1m across! (LP for scale)

4. Progressing past instant gratification

At times social media can feel like a self referential instant gratification feedback loop, and to a lesser degree so does shooting digital. I think the cult of Instagram etc may actually be quite damaging for creative development. How do all those likes and follows affect your work? If you post a dozen photos and one of them gets 99% of the attention, consciously or unconsciously you are effected by that result: perhaps next time you will try to shoot more of that supposedly successful photo… But why? What is the goal of your photo taking? Likes on Instagram? or something deeper?

For me, striving for less, but better is one aspect of my creative output. Another is striving to create work that has deep and lasting meaning. Not just this week and forgotten, but in years to come…. Film helps me break that cycle of instant gratification, and I strongly believe I am the better off for it.

I will still shoot digital as well… And I will still post photos to Instagram, FB, Twitter etc…

But my best work, you will not see immediately, or even soon…
because I am busy making less, but better




Highly reccomended in NZ:
Lab: Ian Powell at ReversalCine
Priting: INK


explained by a cat,
a small child
& a trampoline…

Detritus 421

▶ Trotify


▶ on complexity in music


▶ “Leibezeit’s system, which is roughly analagous to Morse code, is referred to as E-T…”
fascinating rhythms!


macro room


▶ on the same wavelength?


▶ Ennio Morricone – The Ecstasy of Gold – theremin & voice, by Carolina Eyck


▶ interesting read: How I earn $200,000 a year from photography


▶ What you need to know when recording your enemies


▶ when the moronic comments prove your point: your workplace & belonging


▶ so astonishingly loud, that it’s inching up against the limits of what we mean by “sound.”


▶ ever wonder what happened to the much hyped google books search?


▶ between air and electricity: microphones & speakers as musical instruments




such a surreal landscape…
can just see the lighthouse (click to enlarge)
Canon 5D3 + EF100-400L lens

HISSandaROAR Sound Design Challenge

We’ve just launched a sound design challenge over at HISSandaROAR and it is quite an interesting challenge…. Check out the short mute video below, and go download the video and HISSandaROAR TestPot HERE – the deadline for entry is June 1st so you have about 2 weeks…

The prize is a free copy of next HISSandaROAR Library: SD030 NOISE SOURCE which you could almost consider a sister to the EMF Library we released previously… Anyone who has played with synths will appreciate what can be achieved with just a noise generator as the only source so I have been capturing every noise source I can think of and access, from modules to synths to vinyl and tape to a collection of multiband radios, televisions, circuit bent musical instruments and other electronic devices…

I plan to give away at least ten copies of the new library, but I would be very happy to give away many more than that if the entries impress me….

Air Ship

XPAN2/TX2 with TMax100

The Book of Circles

This gorgeous book arrived in the mail today: The Book of Circles by Manuel Lima – I love data visualization, another book I own & find very inspiring is RAW DATA by Steven Heller Infographic Designers’ Sketchbooks which provides invaluable insight into how infographics are created…. Meanwhile The Book of Circles focuses exclusively on the use of circles for such work…

I also recently got the new Haruki Murikami book Men Without Women: Stories but opted for the Kindle version as wanted to start reading it immediately… but now find myself restricting my reading so I can enjoy it for as long as possible…


I thought I had the fastest Fibre UFB connection I could get via Orcon…
but yesterday I switched to BigPipe and lo & behold:

Especially amazing when look back at the speeds I used to suffer with via ADSL

nuzic 29

Its a brave person who takes on creating a version of a Bob Marley song… many have tried & most fail to improve on the original, but here are three worth a listen: Ishivu, Photek & Bill Laswell

nuzic 28

▶ Giriu Dvasios – Tyla via COLD TEAR bandcamp


▶ . . ..and a great mix by Giriu Dvasios


▶ Mark Pritchard – Light Bodied


▶ Carl Craig – Versus
with pianist Francesco Tristano and Les Siècles Orchestra
via & via


Music Box

oh how I would love to write music for this music box, in the Dargaville Museum


Rich boy racers were interested in my drone…

‘you can take it for a fly… if I can take yours for a drive’

yeah, nah

Liquid Light

Bayleys Beach
5D3 with iso cranked

Trixon Tonemaster 61

Yesterday I picked up my latest new musical instrument family member – a mint 1966 Trixon vibraphone. I’ll post some photos once I set it up, but in the meantime here is the user manual that came with it.

It cleverly all fits into a large suitcase, so I am going through the reverse order process of re-assembling it all now…

Love these retro graphics!

Pouto Peninsula

Fantastic mission yesterday circumnavigating Pouto Peninsula…
timed for low tide but still in 4WD all the way!

Locals estimate there have been more than 100 shipwrecks on this peninsula, but all of the remains are buried deep in the ever shifting sand… So it was a total buzz to find one uncovered!

(Unidentified) wreck #35


Soundalike? For a political party? How naive could you be…

Follow this for the arc of a collosal fck up

1. Imagine you are a political party, approaching an election. You are also the current government

2. You need promotional video/s for TV, online and frankly everywhere you can possibly show them to inspire people to vote for you.

3. Someone is hired to conceive, pitch, storyboard & make those videos

4. From day 1 that video pitch/storyboard would have had music

5. Turns out the approved video uses an Eminem soundalike, tactfully titled “Eminen Esque” and I would bet that ‘temp music’ soundalike was used in the original pitch. Simply because in such circumstances, music has an important contribution to make.

6. 2 years later said political party is in court for copyright infringement for use of said ‘soundalike’ with the original composer even playing the guitar riff live in court. He was asked if he thought Eminem Esque was musically inferior to Lose Yourself, and replied: “Given it’s a blatant rip off, yes.”

Just how many ways is this completely fcked?

I’m not going to start some list, but the first simple & most important issue is this: where is the pride in the culture of your own country that you would not try to find a musician, songwriter or composer who is actually from your own country and who also subscribes to your particular form of neoLiberalism and who might be keen to provide what you need?

Didn’t happen.

More than anything else, this court case perfectly illustrates the way such people think about music. And that attitude deserves to bite them in them arse BIG TIME.

Dear National Party,
Please Lose Yourself

Detritus 420

▶ interesting read: Facebook and the cost of monopoly


▶ If you have to say “I am not a robot….”


▶ Frictionless digital music


▶ if your tear ducts need a clean, this will do it


▶ great idea: a water treatment plant commissioned a composer to write music for performance in a giant underground water tank, before it was flooded – have a listen HERE and more info HERE


Pogo huh? I have liked & posted his light hearted mashup videos in the past… but had also read a few things on his blog that made think WTF… but seems they were just the beginning… yuck!
via pieceoplastic


▶ what musical notes look like



Wreck 31

Hiked more than a few kilometres hunting for a wreck that doesn’t seem to exist despite being identified on maps…. I did find some great invisible fencing though!

And then found this magic spot on the way home

The long exposure version

A great day despite the ghost ship…

Today = at last picking up my new old Trixon 1966 Vibraphone
Then a boat trip out to shoot wrecks on 3 islands in the Hauraki Gulf

Seize the day!

Wreck 30

Got rained on a few times getting to this wreck… Auckland city should be in the background but was masked by clouds… a location to revisit!

Lighthouse glass

Visited the Maritime Museum in Auckland – fantastic exhibits including this century old glass from a light house

Wreck 29

Found a truly magic spot, down a crazy unformed 4WD ‘road’ that the farmer was apparently forced to grant access to, but who it seems also then proceeded to make it as difficult as possible for anyone to ever actually access….
South Kaipara FTW

Titahi Bay

XPAN2/TX2 with Fuji400H Pro

Boat Pass with pulsing low frequency

interesting pulsing/beating sub bass from a boat passby I accidentally recorded in Osaka:
MKH8040 ORTF, then MKH8020 spaced omni, then MKH8040 – 8s, then MKH8020 -8s

interesting phenomena

nuzic 27

▶ Ishi Vu – Tema Per Malva


▶ Floating Points – Reflections – Mojave Desert – Silurian Blue


▶ Record Store Day = Burial remix of Goldie!


▶ Valgeir Sigurðsson – DISSONANCE


▶ Clark – Death Peak


Macro Ice Coffee

Canon 5D3 + EF100L macro lens + Lume cube light

Percussive obsession

expanded my soft attack mallet collection

drum kit surrounded by earthquake detectors


XPAN2/TX2 with Velvia50


XPAN2/TX2 with Velvia50