It’s that time again! These parties are always fun. The downstairs space at Cameo is a great place to go nuts, it’s cozy, the sound system is good, and the bartenders Ezra and Joseph are some very sweet dudes. It’s always free, just say hi to the door guy and head downstairs. Facebook event is here.
Last year on Fire Island we made a real questionable stop-motion film telling the story of Nautical Oedipus with characters like Aerborne Octopus and Dick Shark. Then we wrote an electro-surf theme song to explain it all.
Music and sound design by yours truly.
According to the date on the file, this track has been languishing on a hard drive for two years. You can hear it with two ears.
The lovely Miss Boombox spent some serious time here–that’s 136 dancing robots. This is pretty much the final, locked down design for the big box, in terms of sizing and components. I’m working with a few artists now to paint one-off things like this, and I’m leaving the pricing up to them. There will also be regular, solid-color boxes. I’m going to do a little more tweaking on the crossovers and come up with some jigs to make the construction process a bit simpler, work out a couple of battery issues and should have these available for purchase in the spring!
New remix day!
Just to see if I could do it, I used almost no softsynths on this. Most sounds came from the DSI Prophet 08 and Evolver, Arturia Minibrute, Nord Lead 2, Emu Pro-Cussion and talkbox. And the Black Taxi guys gave me the clap, har har.
So there’s this new interactive video on Infiniti’s website. While you watch, it calls you up on your phone and you can shoot the shit with the actors, give them advice, make disparaging comments, boss them around, make observations and there’s some algorithm that recognizes what you’re saying and tries to come up with an appropriate response, out of a pool of about a zillion different possible responses, all of which were recorded ahead of time by the actors themselves.
Why do I care? Well, I ran the VO session with the dude-actor. We had a cool, chaotic setup. I used Ableton, which was great because it was a long, grueling session with a bunch of alt takes and there was a staggering amount of clips to be recorded, trimmed and organized on the fly. Session-view was my savior. Our lady-actor was in a studio in LA and we had a skype link going, with a bunch of sends and weird patching allowing us to hear the directors in NY and LA, letting the actors talk to one another, and hooking up talkback in two studios without it getting out of control. I think there was some Soundflowering involved, and maxing out the ins and outs on the Apogee. I was in the IC Motion audio room in New York, I’m not sure exactly where they were recording in LA but the engineer was a champ and he did a great job on her voice.
Thus far my experience with the video hasn’t been great–I went a few times last week and the web site was down, and today it’s working but says all circuits are busy when I call up the number. Oh well, at least I can read about it in the New York Times. Their ad department seems to think it’s pretty cool.
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Enough of these schematics done in Sharpie on the backs of cut-up file boxes, with the string-compass and the straightedge. I got a crash course in AutoCAD from an architect friend the other night and this is how we’re doing things now.
In other news, the new amps sound really good and have plenty of power. I’d planned on modifying them to boost the input gain, but it looks like they aren’t going to need it. The batteries are working out well. Each box comes with a smart balancing charger and the cells can be fully charged from dead in about an hour from an 18 volt power supply. Way quicker than I’d though!
Guesswork becomes experimentation becomes something that actually works. The prototypes are sounding great.
Hoping to have a finished model of both the small box (pictured) and the big box (on the way) by Christmas. Who’s into some caroling?