the future is cardboard

As far as future tech goes, I am more keen (& much more likely) to drive around
in one of michele gondrys cardboard cars than in a Tesla…


Can’t find a park? just set fire to your cardboard car!
It can keep you warm (& slowly destroy all evidence) until the cops arrive

But imagine if the same applies to drum kits

meet the cardboard drumkit – its not quite as crazy as it sounds…..

how many parents have bought dreadful quality kids drumkits, only for them to be abandoned?
well now you can use them as kindling!

but its future is what intrigues me!

imagine if someone published a cheap & easy DIY kit to place a piezo element on each fibreglass pad. Assemble your cardboard drumkit, plug it into a simple interface (piezo >> generate MIDI and/or CV pulses and/or electronic drum sounds)

and then?


edible VR

yes, its a thing

a6300 long exposures


Having been cooped up indoors for the last few weeks, this afternoon went for a drive out to the South Coast from Wainouiemata to test out shooting long exposures with my Sony a6300. When I had the Fuji x100s I invested in the smaller Lee Filters SevenFive filter set but never used it much… So when I replaced the x100s with the little Sony I also bought an adaptor for the Distagon lens & today was my first attempt at using the little Big Stopper…


Most of these are approx 20 second exposures, using manual bulb exposures I just keep varying the exposure until I get something I like…. and I enjoy the slightly experimental nature of it, especially timing it for waves… That cliff on the right was only about six inches tall & very unstable… got my camera strap wet a few times while floundering around shooting this…


One annoying thing with the a6300 is that if I bump the exposure dial at all, it tends to move the exposure setting from bulb to ’30 seconds’ so a few times I opened the shutter with my remote, but when I released it again to close the shutter nothing would happen… And first few times i was like WTF!?! Now I know to double check – ah its not on bulb at all!


Very peaceful, apart from getting sonically straffed by territorial oyster catchers overhead!

Sony a6300 + Zeiss Distagon 12mm Tuit + Lee Filters SevenFive Big Stopper
(& a stacked hard grad for some of them)

A rare pleasure


Its a rare pleasure to spend two weeks on the final mix of a beautiful film with these fine folk! If you had asked me what form the soundtrack to the film would have when I read the script 5+ months ago, I would not have predicted the final mix we just completed – really excellent work from everyone involved!

Its also a weird feeling waking up today & not having to worry about… anything!

As a composer I feel so much more vulnerable, than when I work as a sound designer and I came to realise its about the degree of subjectivity. As a sound designer there are many subjective moments & elements, depending on the film. But for a film score, it is entirely subjective and the more original the film, its style and the score, the more subjective it all becomes. Very happy to have finished the final mix without any emotional scars, and also happy to feel like I have learned as much in the last 5 months as I have in the last 5 years!

Can’t wait for the film to be released…

Detritus 396

▶ is it ethical to kick a robot?


▶ hearing a ripple in space time



▶ useful MW thread: best sounding software vocoder?



▶ Graham Dunning – Whale Attack


▶ help Jan Svankmajer make a new film


▶ I want to go here: sleepy Japanese town built inside an active volcano


▶ interesting read/listen of 3 composers work


▶ warning, title may contain clickbait: the loudest sound in the world would kill you on the spot


▶ interesting new plug: Frosting



*love this!

“All Blues” is a jazz composition by Miles Davis first appearing on the influential 1959 album Kind of Blue. It is a twelve-bar blues in 6/4; the chord sequence is that of a basic blues and made up entirely of 7th chords, with a ♭VI in the turnaround instead of just the usual V chord. In the song’s original key of G this chord is an E♭7. “All Blues” is a modal blues, meaning that the scale is a modal scale. In this case the 7th of the G major scale is flattened, so it is a mixolydian mode.[2]

A particularly distinctive feature of the piece is the bass line that repeats through the whole piece, except when a V or ♭VI chord is reached (the 9th and 10th bars of a chorus). Further, there is a harmonically similar vamp that is played by the horns (the two saxophones in the case of Kind of Blue) at the beginning and then (usually) continued by the piano under any solos that take place. Each chorus is usually separated by a four-bar vamp which acts as an introduction to the next solo/chorus.

While originally an instrumental piece and usually performed as such, lyrics were later written for it by Oscar Brown Jr.

Into the bokeh


Final mix is nearing its end… Bokeh courtesy of Sony a6300 + Zeiss Distagon wide open