At long last Tom has released the SoundHack Delay Trio, the description of the algorithms is fantastic, from the announcement:

“All of these are derived from the same basic delay algorithm: a hermite interpolated delay line with variable modulation, and a feedback loop with dc blocking and saturation. Pitch shifting is achieved with a dual head crossfading delay (ala Eltro Tempophon/Dennis Gabor/Pierre Schaeffer phonogene) and is decidedly low-fi. The saturating feedback also allows them to be great drone and noise generators.”

Awesome work! Can’t wait to get this one in action, I have something going now that begs for some new delay.

Two of my other favorites of Tom’s are decimate+ and of course the ubiquitous SoundHack, both available (along with a TON of others) on the SoundHack Freeware page.

For long periods of time, I feel vaguely disinterested by dance music. It’s cyclical, and it makes me wonder what my music sounds like. I’ve never had a singular influence, things always become amalgamations of my experience. I never find myself “trying to do something like so-and-so” and rarely ever have a sonic idea in my head prior to composing (it’s happened, but i’m really more of an explorer/improvisor when it comes to expressing things musically - i just allow my subconscious to do the driving), but I always do seem to have a good sense for how it all goes together.

I keep my own list of interesting Audio Hardware, as well as links to useful Audio Software, a lot of which centers around open source or DIY.

Check out Audio Culture for general experimental audio society.

Get Some is my list of “obtaining” art and sound across the Internet, both pay-sites and places you can get free stuff.

Last but not least, I try to keep a tally of enticing online Music Labels where I’ve enjoyed releases and projects. Most of these are of the “netlabel” type and I’ve put some of my favorites at the top; the remaineder are those I tag with delicious.

Enjoy the links and don’t hesitate to drop me a line to suggest something.

It will work with any MIDI capable synth, software or hardware, which means it works with most anything like Live, GarageBand or Logic as well as your outboard synths. My outboard synths with MIDI are long gone, and I do next to no work with software synths, but it does look interesting.

The whole concept of “generative music” is weird. While I appreciate the removal of the ego in music making to explore new avenues of creation, I haven’t been able to embrace algorithmic composition very easily. And I would spend the time on it, really I would… but doing hardware circuit bending and made instrument improvisation is much more satisfying to me - in the indeterminate sense - than setting up a bunch of programs to do things for me.

The folks over at Noise Addicts have a nice blog entry including video clips and some detailed description of the four-channel FM synthesis model called “Enhanced Subspace Frequency Modulation” (ESFM).

I like that they are purposefully limiting the synth to a monophonic tool instead of a polyphonic mess; it looks like a well thought-out and highly intuitive interface, and for $7 you can’t beat it.

Comes out later in August, should be a fantastic addition to the rig. I used to have an old yamaha pseudo-FM synth, lost it in the move from Chicago to LA. It will be fantastic to have FM-type synthesis at my fingertips again.

Yesterday at 4:15PM (Pacific) I took a break from the chaos of networks and enjoyed a ceremonial oneness to honor the victims of Hiroshima in a gesture of world-wide harmony.

hiro1615080508shima starts about a minute before I rang in concert with many others across the globe for the Hiroshimia Peace Memorial Ceremony.

The recording was done in our garden walkway among our tropicals and succulents, you can hear the neighbor’s roof-top AC droning in the background, accompanied by our other neighbor’s dog. I love how the sound of the singing bowl (pictured here!) blends back into the surrounding drone.

In [how it works] a step-by-step example shows the simple circuit-bending process, and other topics go into things like tools and equipment and advanced things about electronics.

I was talking on the phone in my studio for work, when suddenly it all started moving.

What’s interesting to me now is that though I remember the specific feeling of the earthquake, the adrenaline rush of anticipating when it will end, the cycles of disbelief and acceptance and small notions of what the edge of panic feels like… of all this, I remember the sounds the most.

We keep our glasses on a wire shelving unit, which began disposing victims to the kitchen floor. Not many perished, but the crashing and rattling of glass was enough to know. We also have a lot of wind chimes in various forms around different places in the house - most of which live on the front deck. The ones in my studio joined them in exultant songs of the earth! It was nothing less than enlightening, as the high timbers met the rumble of crust.

With little broken but a lot shaken (especially our cats, the breaking glass and shaking house wasn’t their idea of a good time - though our outside cats both napped straight through), it became a sort of coming-of-age moment, as the exhilaration of an enormous power much greater than I could immediately conceive finally welcomed me to California.

Download it to hear area, asketix, blamstrain, ercola, and mk10 (not necessarily in that order) throw down a continuous two and a half hour set of glitch-filled, sometimes psychedelic, always atmospheric minimal techno from 25 July in Finland.

Traditionally this has been a “DJ’s label” selling mostly vinyl and CDs of primarily music meant to be spun at a party, but it’s interesting to see them offering things digitally.

It matches up a bit with the direction of some of the music Posford and friends make now, a lot less “fringey” I’d call it - more use of pop elements some might say - not any less worldly but a lot more accessible for the common ear.

So on the one hand, you become less a fan of the music because of elements that you enjoy the music especially for being without, and on the other there is an entire world of ears out there being brought closer to the fringe.

Probably there is a happy medium where experiment solidifies into an entire musical experience, drawing people to different levels and depths but always satisfying.