▶ Miki Yui
▶ Forest Drive West – Scorpion
▶ Miki Yui
▶ Forest Drive West – Scorpion
▶ Snowstorm on a comet (star stabilized)
A dog in Russia… thats all you need to know!pic.twitter.com/R1T8VZ5Kpt
— Ali Özkök (@Ozkok_A) April 2, 2021
▶ by hazel.mead
▶ “Found in Newcastle-under-Lyme, stop labelled as ‘Tibia Liquida’… #organ #music #pipeorgan #church” and…. coming soon to #eurorack?
▶”Beyond Noh” Masks of our world (Excerpt) Animation by Patrick Smith
a delicious excursion to Akatawera Blueberries!
▶ James Turrell’s Roden Crater
I’ve read lots about Roden Crater but hadn’t seen the walk through etc in this video…
What an incredible experience it would be
▶ sync the rushes: no clapper, TC, guide track or reference
is this #chaoticEVIL or what?
▶ “in the face of today’s dominant internet strategies which emphasize populism, there is a real necessity to cultivate offline forms of digital culture. This means sharing information in more controlled and precise ways than generic upload-archiving” – a great read by Terre Thaemlitz – “…YouTube and the rest are such corporate zombies that they can’t imagine there being any other basis for someone wanting content removed”
▶ Mills, Hood and FM Synthesis as a Metaphor
▶ a great read: interview with Sean Booth + Rob Brown
“It’s pretty abstract if you’re not used to hearing people doing abstract music.
But to other people our work sounds quite mainstream!”
“I watch films and telly and stuff to switch my brain off, because I’ve spent all day listening to one patch and making music…
At last! At loooooong last Wellington is creeping closer to the opening of the new Transmission Gully motorway!
Apart from providing a new route from the city North, it will have a major impact for me and everyone who lives out this side of Porirua as currently ALL traffic heading north passes by the turn off to Plimmerton. I don’t commute and have the flexibility to avoid rush hour traffic but when I can’t avoid it, it is a royal PITA!
A recent drone fly through of the work in progress, BYO music:
And a fly over in a Cessna:
When they opened the nearby Kapiti Expressway (which Transmission Gully will connect to) they had an open day where everyone was invited to walk or cycle the new road. I didn’t bother to go as presumed parking and access would be a nightmare.. And it was, but I also didn’t forsee the great potential for post-apocalyptic photos of crowds of normies walking on the spanking new infrastructure. Won’t make that mistake again – bring it on!
Another cheapy rare-ish score from Japan, made to match my CS01
I really like its sounds – the patterns are predictable & you can mash multiple buttons to confuse them… kick is quite click thumpy, and pitch only effects snare & cymbals…
I haven’t googled for mods, it has a BD trigger in and its fairly easy to play individual sounds for sampling etc..
I was a little worried by the battery acid photos of the rear…
But seller said it was fully working and it is…
PSA: check your batteries!
How to deal with battery corrosion in electronic devices: youtube
(Heavy Duty Nitrile Gloves + Naval Jelly Rust Dissolver)
mmmm naval jelly….
▶ Questlove – SUMMER OF SOUL doco!
▶ Éliane Radigue – Échos, screening on demand
▶ My Rock’n’Roll Friend by Tracey Thorn review – a story of sexism in pop
▶ Is Spotify really listening to artists “Loud & Clear?”The pie chart that is so alarming is the one that the RIAA put out, where you see streaming at 83% of the recorded music revenue, and 17% left for everything else. Now, let’s think about everything else for a moment: Satellite radio, commercial radio, terrestrial radio, licensing for sync use, film, TV, commercials, performance rights organizations, BMI, ASCAP for public performance, physical media, downloads.”
▶ Les appeaux de François Morel – available here
▶ White Noise: Electric Storms, Radiophonics and the Delian Mode
▶ GleetchLab 2021 is now released
▶ hah! Things I never knew until today:
if you right click (or CNTRL click) on the play button on youtube, you can tell it to loop the current video!
▶ not recent, but…
nu old nuzic
▶ Can – Moonshake – Krautrock 1977
love the overhead shots of Jaki… and Holgers sounds via tape manipulation
▶ Joe Strummer And The Mescaleros – Yalla Yalla
▶ Joe Strummer: The Clash | Rare Interview | The Lost Tapes
▶ FT w/Moritz von Oswald & hr-Sinfonieorchester playing ‘UrSprung’ @ Music Discovery Project
▶ I saw a few people on Twitter discuss Wim Wenders film Until the End of the World and was reminded of how much I love the use of pygmy music in that film… And while reminiscing I came across this great article:
The Sound of Yesterday’s Future: Notes on the Until the End of the World Soundtrack
Must watch that film again, here is the trailer:
▶ 79 things that line up so perfectly it will trigger a clickbait headline!
ps so many of those photos of things that ‘line up perfectly’ would not line up at all if the photographer moved their camera about an inch either way…
▶ A great summary by Cory Doctorow re FaeceBook monopoly
▶ The sound of global endangered habitats and wildlife
Great interview with Doug Quin on @radionz this morning, listen here
▶ A question:
what is the maximum number of tracks an album can contain?
What do you think?
My first thought was that it depends on the kind of album, for example I suspect a CD album would max out at 99 and a quick check of the CD spec verified that (And i also remember @leyton releasing a CD with 99 tracks to be played with shuffle enabled)
Vinyl I am not sure, as there is a physical space limit. With respect to maximum duration, it seems to be 23-25 minutes per side is the maximum, but to include space between each song/track means there would be a physical limit to the number of discrete songs possible. Also interesting factoids: “The average LP has about 1,500 feet (460 m; 0.28 mi) of groove on each side. The average tangential needle speed relative to the disc surface is approximately 1 mile per hour (1.6 km/h; 0.45 m/s)”
But for digital, why would there be a limit?
If you wanted to release a digital album with 900 tracks why would there be a limit, apart from the practicality of access etc… So I did some searches…
CD BABY says 100, same as a CD (99 + 1 for initial index) but their upload system cannot cope with more than 50. And if you do have over 50? You have to use such contemporary hi-tech solutions as “send them a CD” lol WTF? Guess who built an arbitrary limit to their upload system.
BANDCAMP? There is no limit on the size of albums. OK what’s the maximum upload size? It starts out at 291MB per track, which is of course the exact size of “Inamorata and Narration by Conrad Roberts” from side 4 of Miles Davis’ Live-Evil (assuming we’re talking 16/44.1, which we always are). Once you’ve made a few sales through Bandcamp (totalling $20 USD or more), we increase the max per-track upload size to 600MB.
As a kid I remember we had a copy of the Guinness Book of Records. I haven’t read or seen one since, but the their website informs me ORLANDO “JAHLIL BEATS” TUCKER holds the record for Most songs on a digital album for their album Modern Day Masterpiece, released 8 November 2019 which contains a total of… 300 tracks! (Commenter “there is strict criteria for this record.. has to be a proper release and has to be a commercial success as well”)
Why am I wondering about such obscure issues? Last night I did a pass through the demos of an album I am slowly working on. It currently has 127 tracks… and I am not finished writing yet! But I’m also not trying to set any records, or make something impractical to listen to… Proof is in the pudding, maybe by the time my self critic gets finished with self loathing there will only be 2 or 3 tracks left…
With digital there should be no limit, in duration or in number of tracks. (And no, the answer is not a Spotify playlist. That isn’t the answer to any question, ever!) Whether anyone wants to listen to a 900 track 45 hour album is a different issue…
Is it a coincidence that the only platform that supports such open ended endeavours is Bandcamp?
▶ Another random Guinness record: The largest set of tubular bells consists of 120 bells and was achieved by Simon Desorgher, Eye Music Trust and George Roberts Scaffolding (all UK), in Rotherham, UK, as verified on 6 April 2017
▶ I made a meme! (sorry its #nzpol related)
▶ Floating Points, Pharoah Sanders & The London Symphony Orchestra – Promises: Prologue
▶ re streaming:
▶ Sorry, Tesla this is the future
▶ local deep fakes guy is hilarial!
Slowly but surely I am going to rid my life of SaaS!
Being tethered to the Internet? No thanks.
Paying monthly fees to dozens and dozens of companies? No thanks.
I am late to the realisation but it means saying goodbye to TextExpander.
And it is a perfect example of a flawed attempt at forcing its users to SaaS.
It seems they started the push years ago, and I must have ignored it. But TextExpander crashed on me today so I wondered if I need to upgrade for Big Sur compatibility. As a registered user that should be a simple, straight forward process which should take only a few minutes, right?
NOPE. They switched to SaaS and there is no other option.
I tried updating to the SaaS TextExpander version. When I launched it, all of my old TE shortcuts were gone… so it didn’t even bother to check for previous versions. I go to the TextExpander ‘cloud’ account and cannot access anything at all until I finish ‘onboarding’ which demands I answer a series of banal questions, wanting personal info.
What a massive FAIL. I have no loyalty to TextExpander. It is a simple, very useful app. As a concept it is essential and I use it often, but it is not a unique idea and does not provide value worthy of a monthly fee.
Thanks to complaining on Twitter I now have a replacement that costs 1/10th of a yearly TextEpander SaaS subscription and does everything I need: aText
But this conversation nails the issue perfectly:
Q: Curious, as someone in a similar position as Textexpander: Don’t you think TE will be able to provide more, stable updates thanks to the stable income a subscription provides? Selling software is a lot like living under the gun constantly. The sentiment seems to be that people use TE a lot, daily. Why not support the developer(s) behind this service?
A: TextExpander has been around for a long time. I’m using version 5, i.e., the fourth major version upgrade. There’s little or nothing else that needs to be added to the product at this point. They charged an upgrade fee for new major versions. IIRC, it was $19.95 to upgrade from v4 to v5. I didn’t mind paying that, even if the new features were minor (I can’t even remember what they were — and I think I actually upgraded only because v4 wouldn’t work anymore on a newer version of OS X, though my recollection could be wrong).
That’s the life-cycle of software products sold on the traditional model. At some point you need to realize you’ve wrung all the money you can out of upgrades, and if the revenue from new sales and (increasingly rare) major upgrades isn’t enough to live on, well, you better develop some new and different products.
Of course it’s better for you as a developer if you can convince people to pay you $60 per year in perpetuity for your small utility app, rather than just collecting a one-time $30 sale and occasional upgrade fees, but just because that’s your super-dream-fantasy business model doesn’t mean it makes any sense for customers.
From same site, this nails an aspect too: “TextExpander has always been straddling the markets of “casual consumer with $20 to spend on an app that reduces pain” and “professional customer willing to spend $199 to reduce major time costs.” It looks like they’ve decided to focus on their professional customers… I hope that this works out well for them.”
I don’t agree with it but I can understand that as the motivation: they do not care about single users, who contribute very little financially to their business. They actually want me to leave & find another solution, so they can focus on their “professional team” users that generate the most income for their company. OK then, see ya!
Similarly there is much nashing of teeth at VI Forum re Native Instruments + Izotope join forces
via CDM, some backstory as both companies chase venture capital:
“Who is Francisco Partners? The other thing to note here is that Francisco Partners is a big, big player. They’re in San Francisco, London, and New York, and are one of the best-known names in technology investment. They’ve raised $24 billion of capital to date.”
Me: the language used in VC powered corporate press releases is vomit worthy!
Also me: I 100% bet this new thing will be a SaaS subscription venture!
Them: Welcome aspiring musician. We exist to
help you make music make our shareholders rich… We don’t want a lot upfront… drip… drip… drip… In reality our shareholders want a LOT by making you 100% dependent!
“The public markets can offer a company quite a bit: Cash right now. Liquidity for the future. A currency to help recruiting and retention.
And public companies come with a giant caveat: They are owned by people (the shareholders) who might sell out at any moment. And new ones can take their place in an instant.
This flexible ownership is part of the attraction of the stock market, but it also means that you can’t count on the people and institutions that own your organization taking a long-term view. (Long-term for them might even be a week in the future).
As a result, the others that the organization seeks to serve: The environment, their customers, the employees, the culture… often lose out. Because thanks to Milton Friedman’s mythology, the primacy of the shareholder (the one who drives the stock price, the very stock price that drives management) means that every time these companies seek to serve one of their other constituents, they have to do a sort of dance, explaining to shareholders why, after all, really and truly, what they’re actually doing is serving the shareholders. Not just serving them, serving them right now.
And, thanks to the short-term interests of many people who trade stocks, there’s pressure to own shares that go up the most today, not a company you’re proud to own for the long run.
Sometimes, the enlightened and powerful leadership of a company is able to ignore the whining of the shareholders. If you don’t like where this bus is going, sell!
But over time, that resolve often fades. I saw this first hand at Yahoo. When everyone who works for you and around you is watching the stock price, it’s hard to decide to do the right thing.
If you want to run an organization you’re proud of, choose your ownership as carefully as you choose your employees.”
Handy site worth bookmarking: ALTERNATIVE TO
Crowd sourced software recommendations…
This should be compulsory training for everyone:
Also this is an essential read:
Love Thy Trolls: What Pākehā Can Do About Online Racism
“In the Tauiwi Tautoko programme, there is a prescribed method for engaging with racist commenting on Facebook, and tauiwi follow a step-by-step guide, which has been refined by ActionStation in an ongoing consultation with educators and researchers. Above all, this kaupapa is Indigenous-led, following principles in te ao Māori:
A slow and considered understanding of where the comment is coming from (āta whakarongo)
Expressing ideas in terms of personal perspectives and experiences rather than universal truths
Identifying shared values and imagining better futures together (whanaungatanga)
Naming barriers that prevent us from reaching that future
By using this method, I immediately noticed the different paths dialogues could take compared to the more hostile routes I saw others on Facebook taking….”
“with every person commenting there are a hundred others silently reading. These silent readers are the true target audience of Tauiwi Tautoko. If we leave these comments unchallenged, we reinforce the status quo.”
what a fantastic ui!
it’s in the next VEIMA auction
c11 sank my battleship
▶ Ryuichi Sakamoto – “Plankton”
▶ “And So The Wind Blew…” by Gene Koshinski
tbh I like it better at half speed, despite youtubbzesz strrte4tcch algo
▶ Mark Fell & Rian Treanor – Last exit to Chickenley
▶ D-Operation Drop – Liberation (Babe Roots ft. Don Fe Remix)
▶ This mix “surveys the quickly emerging amapiano sub-style blowing up at the moment..
called Skrr Gong.”