Complex Oscillations at White Rock, Wairarapa East Coast
That last photo looked like a pool of mercury…
it would disappear into the sand, until waves broke high enough up the beach to refill it
DJI Mavic Pro
▶ wow check this chrono-ramic film camera by Ross Cooper – it rotates an 8×10 neg over 12 hours! #genius Chrono-ramic camera
▶ Can music survive streaming? “What we’re doing is we’re all funding the mainstreamization of culture. We’re all going, “Yes, please. Let’s all fund that algorithm that makes us all listen to the same 10 songs.”
▶ Two books I got at Unity Books last week:
Read the opening poem in Wow: Huia by Bill Manhire
▶ OMG I love this 1950s “Gardening Computor”
▶ The Anxiety of Influencers
▶ I have a few friends who struggle with hearing loss but aren’t at the hearing aid stage yet… So this is interesting news for them: AirPods Pro Become Hearing Aids in iOS 14
BUt I find this interetsing: “The challenge of using smartphone processing is that auditory information must be presented within 80 milliseconds. If processing and relaying this information cannot occur during this time, it will make communication harder. This is because the lipreading cues can become out of sync with the amplified audio.”
80 milliseconds? really?
At 24fps one frame equals 1000/24 = 41.7ms, so they are suggesting a 2 frame lag is ok.
You would not want to be a sound editor with a 2 frame lag on all audio, its not like you can just mvoe reality forwards by two frames to compensate… But a few re-recording mxiers might be interested in this: “Following the introduction of the Noise app in watchOS 6 that measures ambient sound levels and duration of exposure, watchOS 7 adds further support for hearing health with headphone audio notifications.”
▶ Also kinda nice in iOS14 to see FecalBook app beg to be allowed to access my phone data…
It got the big
FCUK OFF! NO THANK YOU!
▶ Deep Sounds of the Earth
▶ this Tiger cub appears to have been revoiced by existential angst
Sad news this morning, to learn of the passing of musician and Taonga Puoru advocate, mentor and educator Richard Nunns. As the saying goes: a mighty Totara has fallen.
Kua hinga te totara i te wao nui a Tane
The totara has fallen in the forest of Tane
Maori Proverbs, Whakataukī: A totara is a huge tree that grows for hundreds of years. For one of them to fall is a great tragedy. This proverb is said when someone of importance passes away. The Totara is a native tree of New Zealand.
Teao Maori News “Nunns, Māori musician Hirini Melbourne and artist Brian Flintoff were renowned for reviving interest in traditional Māori instruments or taonga pūoro. Together they researched and recorded instruments held in museum collections, many of which had not been played for over a century, rediscovering their unique sounds and techniques to play them..”
Back in 2014 I had the pleasure of contributing sound design to a beautiful documentary: Voices of the Land: Nga Reo o te Whenua “Paul Wolffram’s fascinating and eloquent doco about Māori instrumental traditions accompanies Richard Nunns and Horomona Horo as they perform in a series of remarkable South Island wilderness settings.”
Here is the trailer for the film:
Paul Wolffram has now made his beautiful documentary available for pay per view at vimeo:
▶ amiina – Beacon
▶ Steve Reich, Nexus, Sō Percussion
▶ Faidel – Parallel Conscience (Alex Humann Remix)
▶ Porter Ricks – Port of Tangency
Technically, this could be the ultimate stereo tape echo but the proof would be in its use… The genius of the 201 Space Echo is that it operates as if it is a musical instrument – it’s ‘playable’ with similar nuance to an acoustic instrument.
It would be fascinating to know how these Hawk unobtaniums respond in similar circumstances…
And as it’s an expensive experiment to find out, I would appreciate any comments from anyone who owns one?
▶ slow mo tuning fork!
▶ Twitter: Megablock
“Don’t like a bad tweet?
Block the tweet, its author, and every single person who liked it — in one click.”
(I sincerely hope that app has a great lofi massive detonation sound effect when you fire it!)
▶ the end of language? LOL
“The chip’s invention aimed to communicate faster and conveniently. Through a single universal language, Elon Musk believes that the way we talk today will soon improve.”
▶ Pretty sure I’ve seen this movie…. the humans end up becoming slaves for the apes, ne?
▶ Crazy singing tape echo
Look, if it’s going to continue raining then eventually I will run out of props to put my microphones inside!!
6 tuned wind chime pipes x 6 Usi Pro microphones
Rain textures in my Tunnel house
MKH8040x2 + MKH8020 x2 + MKH70x2
Tamarillo x3 + Banana Palm x2 + Satsuma Mandarin x4
Olive Trees x2 + Apricot Tree x1 + Yuzu x2 + Lime x3 + Avacado x3
2 kettles, 3 buckets & a bowl x 6 Usi Pro microphones
Still fckng raining = more tuned pipes!
Still fckng raining = gongs!
They needed dusting, so rather than them getting wet & rusting I am cleaning them with fresh rain water… and then will dry them!
▶ wow, these Stereograms by Marija Tiurina are fantastic!
▶ Beautifully written: My need to create a sense of abundance
▶ Don’t sell your rights! #filmscore
Funny story: first film I scored was a fairly low budget indie film, but by default it seems all NZ film producers request complete ownership of all rights for all music written for the film. When I saw that statement in the contract I literally LOL’d at the producer and demanded it be removed. WTF you want to own the rights to my music? When did musicians become the enemy?
Anyway, three film scores later and I have retained all of my rights to all of my work. But I don’t work for Netflix or any of these studios demanding musicians be stripped of their rights, and I sincerely doubt I ever will.
“Netflix does not use the term “buyouts” to describe contracts in which it buys a musician’s rights to a composition for a flat fee. The company instead uses the term “direct licenses” to refer to deals, in which the streaming service and affiliated production studios directly negotiate with composers, circumventing performing rights organizations that negotiate fees and collect ongoing royalties on behalf of composers.”
▶ related: Your Music Your Future
▶ Reddit: AMA with Carter Burwell
▶ ho diddly ho
▶ G.A.S. takes many forms, and while I know I suffer from it to varying degrees, one of the things that constantly surprises me is photos of peoples modular synths and when you look closely almost every module did not exist 3 years ago! GAS has been very successful in modular synth marketing, but of course it is more complex than that. When I started my modular 10+ years ago I noticed some modules may only have a small release, and either the module, the company or even the creator may disappear (eg rip Mike @Livewire) which encourages a FOMO variant of GAS!
This is a great article about the role G.A.S plays and what it may actually represent.
For me, I have found four ways to avoid G.A.S.
First is to satisfy the itch permanently. As an example I have always wanted an Analogue mixing desk capable of dub mixing, with enough input channels (24) and enough aux sends and buses to route complex effects chains. I spent years researching and hunting for an ideal that I could also afford and settled on first an old Trident desk, which I ended up selling as needed too much work to be reliable, and then finally a Toft ATB 24-8-2 which I love jamming on! The day that desk arrived I completely stopped looking at analog desks, they hold no interest to me anymore as I am satisfied with what I have, not just now but for life.
Second method takes will power: stop looking, stop searching. Limit yourself to what you have, and learn to exploit it. Read the manual, learn everything about it… No one makes you visit forums where there is always a new release that people rave about. Practice “practice not purchase”
Third method is what I now use, and it works. It doesn’t remove G.A.S. it just delays it until it decreases in GASSYness. In your web browser, make a folder in the bookmarks and label it something like ‘2own’ and every time you feel GASSY about some new bit of gear or software or whatever, just save a bookmark specifically to that folder. And think, “yes that looks great, I’ll save it here for now and check out other options’ Just this delaying action alone can make G.A.S. dissipate. And if it doesn’t, then maybe you really do need that new shiny thing! Proof this works? My ‘2own’ folder has 311 bookmarks in it, and skimming through all those bookmarks I think I counted maybe 15 things I actually decided to buy…
A fourth method: order something you really want that is on back order. I have two I am waiting on now, a Korg SQ64 sequencer and a MI Beads module. I ordered both and paid for them 4 months ago, but they are still on backorder, and boy does that take the fun out of buying new tech!
Yesterday we had a few light showers of rain, so I rigged the above with the two tuned pan drums sitting on milk can resonators (MKH8040 in each) and the two waterphones on their side (hoping for direct hits on the tines) with an MKH8020 in each. Following take I added shiny rubbish tin with an MKH8050 and DPA4060 in it…
This morning a few showers were predicted, so I recorded some more with the above setup and then reset to this:
Each vintage gas tank has an Usi Pro in it = six channel metal rain!
▶ From the Machine: Volume 1 by Kenneth Kirschner & Joseph Branciforte
Joseph Branciforte: “the music for this album was composed entirely in the max/msp environment (with the help of the bach externals), translated into traditional musical notation, and performed by musicians from international contemporary ensemble & flux quartet.
My collaborator on this project, kenneth kirschner, and I often talk about the sound-processing & synthesis aspects of max, while incredibly powerful, often overshadow the possibilities of using the computer as a processor of *compositional* data. This recording is our attempt to answer the question: what happens when one uses max not as a sound source, but as a shaper of musical form, harmony, & rhythm.”
▶ Dean Hurley – Concrete Feather via Boomkat
▶ also classic!