nuzic 265



▶ Burial – Phoneglow



▶ via – cute PlugData Drum Machine



▶ Doxa Sinistra – No Car, No Job (1985)



▶ Dorothy Ashby – Soul Vibrations (1968)





Flashback to 2019

Repost from when I started recording BEACHES THREE Ambience library… 10am on a Monday morning, September 16th 2019 at my favourite beach in all of Aotearoa… Playing the long game!

I was intrigued to see if Twitter retained an archive. It does, although endlessly scrolling on my account did not reveal it – that access seemed to grind to a hault in 2022. But a search for “Tim Prebble Totaranui” revealed it.

You can see why the area is known as Golden Bay!
It’s on the path of Abel Tasman Track a very popular & relatively easy 3-5 day hike… A great beach for a swim for tired limbs! Also accessible for slackers like me by road from Takaka.



Detritus 747



▶ Another interesting take on EMF – Demon Box





▶ Forget the Braams and horror stings…



▶ So Apple has introduced a new system called “Private Cloud Compute” that allows your phone to offload complex (typically AI) tasks to specialized secure devices in the cloud… an interesting read/thread



▶ If you use Twitter you may have come across clothing/fashion advocate/critic Derek Guy and, in hindsight fascinating to see when and how his exposure escalated



▶ re comment in previous Detritus about magnet fishing: xkcd



▶ Eco-brutalism: when angular concrete meets the wonder of nature – in pictures



Music lawyer sharing useful knowledge via Youtube vids



▶ Eliane Radigue, 87 ans, pionnière de l’électro



▶ Hype from the top? “the Michael Jordan of listening” lol





I suspect generative AI would do themselves some favours by reining in the hype. It can’t deliver ‘anything we can imagine” – thats a silly claim,
so it comes off like a tech bro snake oil salesman… I also wonder about the long term impacts of ‘deskilling’ via AI. The only reason we are each able to write coherently is from practice. Farm that out to an AI in your youth and does your brain actually develop & retain those skills? Or is that the old ‘you wont have a calculator in your pocket later’? Is a musician who only knows how to “make” music via a text prompt really a musician? Find out. Turn the power off.







▶ BEAT DIGGIN’ (2003 Version)





nuzic 264



▶ Alva Noto – HYbr:ID Sync Dark



▶ Skee Mask – ITLP19 – Resort



▶ Yoyaku instore session with Octal Industries



▶ Nils Frahm – Live at the Philharmonie de Paris





Taonga Pouoru

I just pre-ordered a new book: Echoes from Hawaiki: The origins and development of Māori and Moriori musical instruments by Jennifer Cattermole (Otago University Press, 2024)

“Echoes from Hawaiki is a comprehensive account of taonga pūoro ancestral musical traditions and instrument-playing techniques.

In this thoroughly researched and beautifully illustrated book, Jennifer Cattermole traces the origins and development of taonga pūoro, the stories they carry and how they connect present-day iwi with ancestral knowledge and traditions. She shows how traditional Māori and Moriori musical instruments have developed in response to available materials and evolving cultural needs, from their ancestral origins through the suppression of their use in nineteenth and early twentieth-century Aotearoa New Zealand, to their revival in the present day.”

A beautiful set of recordings too, with performances from each instrument.



FIXED: Vestax PD2000


Many many years ago I bought a pair of Technics SL1200 decks and kept them for many years, but when vinyl shopping at Beautiful Music (used to be on Ponsonby Road back in the day) I tried out their turntables which were Vestax PD2000 and I liked them so much I sold one of my SL1200 and bought one. They felt a bit lightweight compared with the SL1200 but the key features were that the PD2000 had a backwards button, so you could play records backwards at a consistent speed… And there is the speed control. The PD2000 had Ultra Pitch which meant you could slow records down to a crawl, which was very useful when sampling… All good!

But some years later it developed a weird problem, like it was possessed!
If you put a record on, it might play for 10 seconds… then it would switch to reverse at high speed! Or it would play at a weird speed. It became completely unreliable and a little dangerous, sometimes the sudden change in direction & speed would throw the tone arm off the record… I did searches of how to fix it & had no luck, so its sat unused for years…

Today I was in a mood for fixing things as have had a few successes recently bringing things back to life I suspected were history, so I did some more searches an found this article

“This is a really common fault with this model of TT. I’ve just repaired a pair of them with the same problem.

You need to remove the bottom cover of the deck then take the round cover off the bottom of the motor assembly. Be really careful with that, delicate sensitive stuff inside. Once you remove the screws use a small flat blade screwdriver to lift the cover free of the rubbery glue that seals and holds it in place.

Once removed, in the centre of that cover is a small black rubber cirlce about 6mm in diameter that the shaft of the motor rotates on. The problem causing all of that erratic platter movement is with this small black circle.

The solution I found was to use double sided tape to hold this part in place. This serves two purposes. First, to stop the part from moving off its required location, Secondly, to raise the part up slightly from the bracket that it sits on. Layer the double sided tape up so its the around the same thickness as the small black rubber circle. Then place the black cirlcle into its original location bedding it firmly into the tape.

A tiny small dollop of grease on the end of the motor shaft. Replace the motor and bottom covers.
Bingo! The decks a-go-go!”

I was prepared to suspend my disbelief long enough to try it, and ten minutes later it seems to have worked! I’m going to leave it playing for an hour or two and see if its a permanent fix, but for now it is holding locked speed!

What record/s did I play first? These:

Alva Noto 2 x 10″ locked groove
Discogs names it: Carsten Nicolai Aka Noto – ∞ – Sonar Endless Loop Edition and dates it from 2003 but there are a few versions so not 100% sure…

Fun to jam with…


Now to get back to my vinyl




New Instruments



Fantastic to see so much innovation currently!



▶ very interesting interview & demoes of the prototype Acoustic Synth at Korg Berlin!
Really exciting to hear him discuss how users customising the resonators/tines is encouraged…



▶ KOMA – Chromaplane
wow what a genius idea!!





Detritus 746







▶ Understanding, finding & eliminating ground loops in audio systems: PDF



▶ They need to make a new series of the Detectorists, except magnet fishing



▶ I saw this mentioned on twitter and got a kindle copy to read:
The Perfectionist’s Guide to Losing Control – Authors site + Amazon link



▶ wow DJI think their drones will be banned from USA



▶ Why electronic components have such odd values



▶ ancient ‘walking tree’ wins tree of the year



▶ some interesting work has been added to the dadamachine site



▶ As a kid I read and re-read the local free NZ music news magazine Rip It Up (its first 102 issues, running from 1977 to 1985, are available via the Papers Past website). It was fuel for my dreams, especially if there was a photo of a recording studio… Very occasionally I’d read UK magazines (while “browsing” in a book store) but I never, ever thought for a second I would be quoted by one of them, and for this lol It’s also been republished a few times now (I’d never know other than for a Google Alert I set up a decade ago… its been pinging me all week as it gets reposted in online magazines… Mixmag was today)



▶ relavant: the AI content production machine



▶ also relevant:







▶ actually good advice





▶ sheesh win an Oscar and still no final cut – that is one company I am glad to have nothing to do with. Still salty about the Hobbit law



▶ Exhibition of AI-produced photos at Auckland Festival of Photography stolen
Did they just get out-grifted?







Adobe enshittification?



▶ This perplexes me. A lot of people who shoot film now, don’t keep their negatives! This article explains the same issue but the local lab I sue for months now has been haranguing people to either come pick up their negatives or they will be dumped. Negatives are not like boxes of vinyl, they are tiny and easily stored. As that article quotes Ansel Adams, “the negative is like a composer’s score and the print is the performance” so why would someone who goes to the trouble of shooting film throw away their future potential to make prints!? #regretsy



▶ guilty as charged, constanoo



▶ 108 is a minimal beat machine in your browser!











HISSandaROAR Sound Design Challenge 02

Check that FFT from the Sanken CUX100K mics! Spectral content all the way to 96kHz!

So I just released a new library at HISSandaROAR: UFX032 PRESSURE STOP RELEASE

This library is an idea found while working on a different library, experimenting with negative pressure (ie suction) and positive pressure. I noticed that when some rubber sheet or plastic suddenly blocked the suction, it created a solid ‘thump’ when pulled free. The rapid release of pressure seemed interesting & slowed down lights up my subwoofer! So I collected up all the accidental pressure suction stops & releases from those recordings and then I set about exploring this one specific technique, purposefully restricting suction and then restricting positive pressure from my compressor, creating very sharp transients and spectrum up to 96kHz. As with IRs and convolution, the ‘noise’ aspect of the sounds means they respond strongly to processing.

If you’d like to have a play with these sounds, I’ve launched a little sound design challenge…
Using the five 192kHz sounds provided, make something extraordinary & send me a link!
I’ll give away as many copies of the full library as there are extraordinary entries.
Download and more info HERE



AI Sound Effects

A new AI thing launched a few days ago, which can generate sound effects from a text prompt:

From all of my posts criticising the hype of AI, I do try to keep an open mind but also keep the ‘critical thinking’ gears engaged.
With any of these AI projects, my first two questions are:
1. what was it trained on? did they have permission?
2. what are the rights for anyone who uses it?

So for Q1: First I hunted through their website and could find no mention whatsoever of what it was trained on, which seems strange. But checking their twitter feed they announced: “Thank you to our partners @Shutterstock who provided licensed tracks from their expansive and diverse audio library to help create our model.”

More on that in a second, but for Q2 there is nothing in their terms about copyright. Who owns a sound effect that is generated? Why this matters is that if a film soundtrack is audited, or a DMCA notice submitted to a production company due to a possible copyright breach, then there has to be proof that a legit license exists for the use case. Without it, the sound effects are worthless for professional work.

I eventually found a contact for legal questions and submitted a request:

“I have searched your terms & conditions but cannot find the answer to a very simple question. Can you please advise? When I generate a sound effect with your new AI product, who owns the copyright of the generated sound?”

This morning I got an initial response:

“Thank you for reaching out with your question about copyright for sound effects generated with our AI product. I understand that clear information about ownership is important, and I appreciate your patience as I look into this for you.
 I’m going to escalate this question with our legal department to get the specific details and ensure you have an accurate answer on this as it’s a new feature. I’ll get back to you as soon as possible with the information you need.”

So they launched a product without clear legal info on the rights of use.

While I wait for an answer from the legal team I kept searching.
First I found this:

Wow ok. So you “can” use it for commercial purposes BUT you are the one who is liable for it.
I kept reading. Then I found this:

While you the user are liable to the full extent of the law, they are protected to a maximum of US$100.

Next I thought I’d check out what Shutterstock have to say about AI, since it is their sounds being mashed up by the AI.
With regards to compensation for people who upload media to their site, for licensing they state:


It feels like a pattern is forming: “all care, no responsibility.”

I’ll update this when the legal team clarify the actual use of their “text to sound effects generator”

Next I thought I will try it out, how useable is it?
The hype is certainly there in large letters.

Now I don’t know if this is the marketing department having too much coffee, or their example users having very small imaginations but one thing I can assure you is that no, they cannot generate any sound imaginable. When I have mentioned the pathetic hype associated with AI on this forum many times, this is what I mean. Sure, make marketing claims. But don’t promise the entire world of sound when (a) you can’t and (b) you dont even have the legal framework resolved.

From my tests I found that the sounds it generated were very low fidelity, like worse than a $200 handheld recorder quality. And the specificity is non-existent. A very explicit text description might get vaguely close one or two times out of ten. Now I can imagine the typical response is ‘but wait, it will get better’ but that idea has some issues. First, it only gets better with a combination of (a) more data and (b) user feedback. Eg if you ask for a “brick thrown on the bonnet of a car” and you choose the 10th version, you are then training the AI with user feedback. Good luck with that, you’ll need a lot of people with spare time on their hands…

But to that point, what I really discovered, or realised was that “AI Generation” is incredibly unreliable and the only thing that makes it useful is a human sifting through the useless crud looking for a gem. And by a gem, I do not mean a pearl or a diamond. I mean a bit of coal, or a stone, or something even remotely useful. Why is that a problem? Well as the quote goes “Time is the school in which we learn, Time is the fire in which we burn.” The one thing all humans have in common is that time is their most valuable commodity. When I think of how a sound effects editor or sound designer works, they have a huge resource right in front of them: their sound library. And when they put a “text prompt” into their sound library app, eg if there is a “brick thrown on to a bonnet” it will be shown immediately. They audition it & beginning working with it. Some sounds require many components and some of the best components have nothing to do with the first search term at all. People have been putting lion roars etc into explosions etc for a very long time. We love that!

But AI reduces you to someone auditioning sounds from an unreliable low resolution source, where even explicit descriptions do not guarantee anything even vaguely close. It really is like the ‘use glue on your pizza’ google AI search.

I’m sure they will continue receiving VC to progress whatever it is they aim to achieve. But the residual thoughts I have at this stage are:

– its a solution looking for a problem. Casual use on their free tier does not keep the lights on. They have to find a paid commercial use.

– AI use like this will die from a thousand cuts. Just as there are legal ambulance chasers, there will also be AI copyright infringement lawyers, who will gum up the aspirations of these companies before they ever get to the point of it being fully functional. Its a whole new industry for them, and ironically they will be using AI to do it!

I’ll update this when their team clarify the legality of use…

Ok thanks for coming to my TED talk


And today, another:

“The new model was trained on audio data from FreeSound and the Free Music Archive. This allowed us to create an open audio model while respecting creator rights.”

I have submitted a request to them too, for clear legal guidance on use.

FreeSound terms are here

“License restrictions when publishing new sounds that include/modify/remix other sounds…

I have also submitted a request to Freesound, asking if they are aware & whether it follows allowed use. And also whether there is an OPT OUT button for FreeSound users.




Update 1: from Free Music Archive
“We did not give permission.
To be continued.
Team Tribe of Noise”

Update 2:
“All audio files are licensed under CC0, CC BY, or CC Sampling+”

I found this info here:

If you look at the repo where the model is actually hosted they specify
> All audio files are licensed under CC0, CC BY, or CC Sampling+.
These explicitly permit derivative works and commercial use.
> Attribution for all audio recordings used to train Stable Audio Open 1.0 can be found in this repository.
So it’s not being glossed over, and licenses are being abided by in good faith imo.
I wish they’d just added a sentence to their press release specifying this, though, since I agree it looks suspect if all you have to go by is that one line.
(Link:… )

Datasets Used
Our dataset consists of 486492 audio recordings, where 472618 are from Freesound and 13874 are from the Free Music Archive (FMA). All audio files are licensed under CC0, CC BY, or CC Sampling+. This data is used to train our autoencoder and DiT. We use a publicly available pre-trained T5 model (t5-base) for text conditioning.

Attribution for all audio recordings used to train Stable Audio Open 1.0 can be found in this repository.
FreeSound attribution [csv]
FMA attribution [csv]

Update 3
Freesound has written a blog post discussing the issue



The past is a foreign country..

..they do things differently there.”

They also made things to last!
I’m slowly building a workshop for myself, to enable more complex physical instrument & sound effect prop creation. But having bought some tools over the years & see them break, I’ve decided that whenever possible & practical, I am going to build my workshop out of old school gear. For example I picked up this ancient mitre saw today for $25

It is heavy, still works as well as the day it was made and even came with a couple of pencils! It has the name ‘Stanley’ cast into some of the parts, which is a well known modern brand in NZ but a quick search reveals they started in 1843!

My Uncle Ken who passed away a few years ago was a mechanical genius and their workshop had many big & very complex lathes, and it was very difficult finding a good home for his gear. I suspect it is an ongoing issue to be solved for every family, where their beloved parent or grandparent had a home workshop, shed or garage with tools they had used for many decades – maintaining & sharpening them, rather than the modern crud that goes to landfill as soon as it breaks.

While I was over picking up the saw, I stopped off at Helter Skelter again, and despite thinking I had found everything relevant for my current missions last time I visited, I was wrong.

These zing and chime and resonate in uniquely interesting ways!

For locals, see previous post for Helter Skelter details/







nuzic 262



▶ sideproject – sourcepond



▶ goat (JP) – Joy In Fear



▶ SND & RTN – Tales From The Outer Rim EP



▶ Church Andrews & Matt Davies – Yucca



▶ Dorian Concept – ‘Hide (CS01 Version)’



▶ Enno Velthuys – A Glimpse of Light [Full Album] (1984)

So little is known about the son of Dutch children’s writer Max Velthuijs; the late, enigmatic and influential Enno Velthuys. So little is known in fact that even his death in 2009 went almost entirely unknown of until a few years after the fact. But that really is the perfect fit to the music of Velthuys; mysterious, unique, almost entirely forgotten…

From “Perfect Sound Forever”:
“Velthuys released six cassettes during his life, which can be found online, but they have never gotten to a proper re-issue yet. It’s a dream that (Hessel) Veldman also has. “I had an appointment with Douglas McGowan of Yoga Records in Amsterdam, where we talked about reissuing the work of Enno Velthuys. I even gave him the master-reels of Landscapes In Thin Air, thinking he would seriously re-issue the music. Now it’s two years later and still, Enno’s music is obscure and hard to get. (I) hope sometime things will turn out better for Enno Velthuys and his wonderful unique music.”



▶ Enno Velthuys ‎- Landscapes In Thin Air



Detritus 745





▶ AES E-LIBRARY – free download
The Role of Communication and Reference Songs in the Mixing Process: Insights From Professional Mix Engineers



▶ “I know from working in big studios that 14 hours a day in a studio without windows sucks; it drains you and there’s nothing inspiring. When we have the opportunity to have natural light, we keep it at all costs.” – from this interview
I couldn’t agree more & I’ve always had natural light in my studios… After many weeks of a film mix in a dark room, it was always a relief to get back to the light..



How Actors Remember Their Lines



▶ 29.05.24 Drone footage from the new volcano eruption in Iceland



▶ the question every influencer needs to be asked




















▶ French Fuse













VEH003 Trailer Onboard released!

Last year I inherited my Dads vintage 1928 Chev Roadster, and I also inherited his car trailer for transporting it. February I moved the Chev up to Wellington and I noticed the sounds the trailer makes. It has a light steel wind-shield at the front which rattles, while the deck is made of solid steel with plating, so it has a lot of interesting resonances. Being a trailer there is also minimal engine and exhaust noise.

The trailer was rigged with six mics and my Sony a6300 camera:
– Sennheiser MKH8040 LR, one close up on each wheel
– Sennheiser MKH8020 pair sheltered LR behind the wind shield
– Sennheiser MKH8050 sheltered centre behind the wind shield
– LOM Geofon on chassis, capturing rumble.

The surfaces driven on include:
– up & down my driveway, scraping plants & bushes
– suburban driving 0-50kmph (0-30mph)
– suburban arterial route driving 50-70kmph (30-45mph)
– highway driving 90kmph 55mph
– gravel road driving 0-50kmph(0-30mph)
– driving over multiple judder bars/speed bumps 0-10kmph (0-5mph)

Recorded 32bit 192kHz this new library is released multitrack 24bit 96kHz with full UCS metadata and photos..

33% Intro discount expires June 9th!