Chicago 68

Love this design, reminds me of Tubes' work -- which is waiting to be hung in my studio when I finish cleaning up

2013 in 60 seconds

Had a good year and wrote a short summary of 2013 on my ShowcaseJase blog, although it's a bit of an excuse for not publishing more often.

The Junto this week called for a compilation of my 2013, which you can hear above. There are some links for info about the sounds heard above at

More on this 104th Disquiet Junto project (“Create a 2013 audio diary with a dozen five-second segments”) at:

More details on the Disquiet Junto at:

Join the Disquiet Junto at:

Morin khuur

Heard a surprise performance from a couple over Christmas. They were playing a variety of instruments, including a morin khuur -- which is a two-string violin from Mongolia.

There were some really unusual sounds in the performance and the morin khurr added something like a higher-pitched didgeridoo that was a bit like the noise of a swarm of flies too. The accompaniment included singing, South American whistles (including ocarina) and Tibetan singing bowls.

The drone of the singing bowl led me to experience drones in a new way. I'd closed my eyes and noticed how the constant note resonating disguised the natural reverb sounds of the room. The drone created a kind of acoustic illusion, where the reverberant sound gave the impression of both all-space and no-space at the same time.


Coldcut put the video above on Facebook with a message that they have a new album to release in 2014, which is great to see they're moving a bit quicker than the gap between their last albums.

And below, well, I was slack this year in flogging the dead horse that is my cover of Wham's festive classic -- in which, if you listen carefully, a young George Michael 'outs' himself as a scorned lover torn apart by a man undercover!

Inheritors of James Holden's tip

My interview with James Holden is now online at Cyclic Defrost.

His album The Inheritors is showing up in a lot of 'best of 2013' lists and deservedly so. You can see Holden performing the album live in this video.

It was great learning some of his production techniques, such as layering multiple takes. Holden is also a fan of tape saturation, although he acknowledged that plug-ins were getting better at emulating this distortion. The VST TB Reeelbus was one he liked, I've tried it and it's good but not as nice as UAD's Ampex emulation to my ears but it's good, so I'm hoping to find a use for it -- or it'll become another plug in the long list I already have.

The Magnetic II plug by Nomad (on special this month for a good cause) is another tape type effect I've recently tried and it's good for character but less effective at subtle enhancement, although their COSMOS inflator-style plug is excellent value for money.

P.S. Just read Kate Carr's piece on tape at Cyclic Defrost and like the perspectives on the medium -- as well as liking that Cyclic run pieces like this because I've got an idea for a piece on remixing that I've been trying to get motivated to write.


Credit to Marc Weidenbaum for another fun Junto project, which involved remixing the music made last time.
This week’s project, the 103rd, is based on last week’s, the 102nd. The instructions are as follows:
Step 1: Select three different works from last week’s project, as collected at this URL:
Step 2: Label them Source A, B, and C.
Step 3: Create an underlying foundation for a song by creating a loop-able segment structured as follows: four beats of Source A, four beats of Source B, four beats of Source A, four beats of Source C.
Step 4: Let that loop repeat twice before introducing any additional elements.
Step 5: Continue to loop the segment and augment/distort/filter it as you so desire, and introduce any additional material, toward the goal of creating an original piece of music.
Bonus Round: If you are inclined, create a chorus for the song by holding Source B for an extended period of time, and create a bridge by holding Source C for an extended period of time. Again, feel free to augment/distort/filter them.

After listening to the tracks recorded for the last Junto, I downloaded a bunch and began selecting bars. There was one false start that I couldn't get to sound pleasing, then an early second draft that got too busy.

So I stripped it back and then the samples sounded better next to each other. Then I began pursuing the 'bonus round' after settling on a bassline.

The resulting track sounded a bit empty and I considered writing lyrics to sing before remembering the piano part that had added a lot of harmonic interest when I started layering up samples. The percussion part was MIDI but the bassplaying is mine.

Sonic Tinsel

Another week, another Junto:

When the Junto email arrived I was riffing on these chords, arpeggiating them on the bass. So I seized on the opportunity to work with these notes.

The next morning I settled on the arrangement and plugged the notes into Live as MIDI but, whether it was the quantised delivery or the VST instrument, it sounded uninspired. So I settled on playing it on the bass and began practicing.

Around this time I thought it would be fun to make another video, like last week. (Although last week I had that idea because the workflow was going to be like my park remix project.) Thought I'd have to match the video and the audio, until it occurred to me to record audio with my SLR camera.

I used a guitar amp's headphone output as a pre-amp for my semi-acoustic Ashton bass guitar, which has flatwound strings. It's my cheapest bass but has a lot going for it, such as three very different-sounding pick-ups -- including one near the neck.

My friend Scott arrived about then, so I put off recording and kept practicing the arpeggio.

On Sunday I began recording and gave myself a bit of time to get used to playing in front of my camera. Once I got the levels and the performance right, I realised it kinda plodded along.

So I began experimenting with other ways of delivering the notes and arrived at the rhythm you can hear. I almost added a fingersnap accompaniment but it kinda underscored where my tempo drifts. Should've recorded it first to play along to. Maybe next time.

P.S. Love this remix by MIDIpunk for the 103rd Disquiet Junto, which remixed the sonic tinsel into a tinselsong:

Abre Ojos on Abre Ojos

This year I started writing for one of my favourite publications, Cyclic Defrost. I was motivated by the opportunity to speak with musicians and artists, learn more about their approaches, processes and techniques.

One of my first ideas was to write about my friend Scott Baker, who releases material as Abre Ojos. I've been a fan of his work for about a decade now and was curious about his influences. We had a lengthy conversation on Skype just before Burning Seed but I didn't take any notes. 
So I asked Scott if he'd write about these topics and received a few thousand words, which I've shoehorned into an Abre Ojos article on the Cyclic Defrost website.

Below is Abre Ojos' full text, reproduced with permission. It's great to read about influences and the article had to focus on a few, so here is more detail for those interested in Scott's art.

There always has to be an influence somewhere- as a digital media & graphic design teacher I see all too often students designing and creating in a vacuum- no references, no influences just sitting there blazing forward on their own. As an established artist/musician/whatever maybe the blazing forward on your own is ok because you have a foundation of influences and references made up from many years practice, but as a student it's rare that there is a depth of material to draw from. 

In terms of sound creation I still consider myself a student, visuals arts was the basis for me and from my uni degree and my visual arts practice I have a depth of material and references already and although I am always learning on the visual side of things, my depth of references and influences for sound creation is not as comprehensive. Granted I love music and sound and have been listening for decades, but it's the shift from consumer to producer time period that is much less, and being haunted by so many failed music lessons from my youth leaving me untrained and my sister telling me I was tone deaf keeps me firmly planted in my own perception of being an interloper in the sound creation world, an eternal student of sound!

There have been a few formative experiences that reduce this feeling of trespassing - working with Alan Lamb to create a wind organ, playing music with Rob Jones, developing a meditative audio-visual experience with Heath Myers and of course listening to the sounds that others have created.

Creating the wires with Alan Lamb just outside Wagga Wagga in rural NSW as part of Unsound was an experience that took years to sink in. I remember Alan continuously telling me to slow down, just sit and wait and then later once the wires were completed to just sit and listen. At the time there was plenty of glitch and IDM in my sound library and I was trying to emulate that kind of schizophrenic restless music, chopping and changing and abrupt halts. There is a beauty in digital artefacts, but it was possibly the furthest away from the sound experience of the wires. I wasn't ready for deep listening at that point, especially because my aural diet was 3-6 minute songs, a track of 20 mins in length was, I thought, forbidden. Understandably being exposed to Alan's compositions and direct listening on the wire planted a seed that slowly took root. An other thing that struck me was Alan's mention of the healing properties of sound and specifically the harmonics coming from the wires. He spoke of his desire to make a platform at some point that would allow a person to sit on it and have the sound of the wires travel through their body, this was something else I wasn't ready for but returned to later on. Being given a Sunn 0))) record by Adam Bell and then getting to see them live in London was fertilizer for that seed- long tracks, slight changes, intense harmonics, seemingly freeform improvisation. Added to the mix was the Lustmord & Robert Rich collaboration Stalker and then, quite appropriately while living in London, exposure to Coil, specifically Time Machines. 

Time Machines sent me down the rabbit hole both sonically and also into the back catalogue and esoteric practice of Coil. After to listening to TM, I was astounded at the simplicity and minimalism of the synth and changes and the mental, physical and spiritual effect it had. I read as much as I could about that album and it's creation and at that point still being firmly rooted into sampling as my main production method terms such as modular synthesizer, oscillators, control voltage etc were alien and mysterious. But it was the process that Jhonn and Sleazy described that made the most impact- they described how they would just sit there and listen making small almost imperceptible changes and be aware of the effect of the sound on themselves- a combination of deep listening and production.

While in London I started collaboration with Rob Jones ( where we formed Look To The Skies on a basic process of getting together once or twice a week, setting up whatever equipment we had, Rob on laptop with soft synths and other instruments, me with a Korg ES-1 Electribe and a rag-tag collection of effect units, and with minimal preparation just recording 20 minute jams, doing some basic level mastering and posting them to the web. We did over 60 tracks like this over a year. This marked the point where the 3-6 minute song was blown away and improvisation became an integral part of my process.

The synthesis side of Coil sent me in a search for a synth to learn on and I bought a desktop Dave Smith Evolver. Combined with the Anu Kirk's Definitive Guide to the Evolver I bunkered down and learnt it inside and out. Sampling fell away and synthesis replaced it.

Fast forward slightly and I returned from London and moved to Melbourne. The collaboration with Rob ended as he was still OS. I had to ignore the "no trespass" signs and start making music by myself. At this same moment I was reading a book called 1666 all about the visits to Australia by Europeans before the "official" discovery by Captain Cook. Being a open conspiracy theory junky a term in the book that Spanish sailors would say when sailing near the reef's of Western Australia was "Abre Ojos" - look out, keep your eyes open - seemed a fitting title for the new project. This was 2006-2007. The other thing I should mention about Abre Ojos is that I wanted it to be an audio-visual project, something that brought together my visual art roots and the sound. The intention is for it to be more than just a video for the music, but for both elements to be equally addressed and to be composed in a way that one is integral to the other. The key to making this happen was learning a visual programming application called Quartz Composer.

Being back in Oz with more space and no need for carry on luggage restrictions my synth collection grew, moving through virtual analogues like the Alesis Ion, to my trusty Korg 770, the cycle of buy and sell and keep and play and buy and sell started. Also in 2007 a group called VICMOD kicked off, started by Ross Healy, it was a collection of people from varied backgrounds all wanting to get into modular synthesis by building their own modules. Finally there was the opportunity to have access to the equipment that had made an album like Time Machines. We built Elby and CGS modules to start with and the combined experience from the group helped us get power supplies, racks and cases. In under a year I had a 6ru euro-rack modular with modules, a case and a power supply that I had all built myself. It was amazing! Not only sonically but also aesthetically, this ex-military suitcase covered in black tolex with cables vomiting out the front. The esoteric nature of a modular, the alchemy of electrical control voltage was mesmerising. This was right at the start of the modular revival, there were only a handful of manufacturers, modules had to be bought from OS (except the awesome Elby Designs and CGS stuff). Over a few years it grew to 15ru in size and it was my primary sound source. All of my other synths were sold off in the pursuit for more modules. Listening to oscillators drone on and making small changes, the experiences of listening to Time Machines and also the shifting harmonics of the wires were recalled and the interest in the science (and pseudo-science) of the effect of sound on the human organism was something I started researching.

I had done a release based on the Crowley tarot and the alchemical elements ( but that only touched the edges of the spiritual side of sound, it was the Chakras audio-visual project that pushed me further into the theory of frequencies. The Chakra system has multiple elements assigned to each chakra- colour, crystal or rocks, graphic symbols, yoga poses and musical notes or tones. So the Chakras project was a way to understanding the Chakra system and, in a weird way, experiment on myself with specific tones and frequencies. Having the visual elements of the symbols and colours also made it a perfect subject matter for an audiovisual outcome.

With the wealth of information on the internet, researching each chakra and finding specific notes or frequencies became a psuedo-science nightmare! I could find 3 or 4 different notes that each "expert" associated with a chakra, and then converting the note to a frequency was easy enough until then scratching the surface of the standard western tuning system of A = 440hz. This opened another can of worms when apparently sometime in the early 20th century someone decided that for the first time to fix a frequency to the musical scale. Before that point an A could've been 10hz either way depending on the composer, conductor or musician. So saying that a particular specific note with a particular specific frequency specified in the early 20th Century is something that resonates with an energy centre identified in spiritual teachings centuries old was a frustrating experience. I knew that sounds had an effect and I also knew that intention in creation was also crucial and trying to be exact in the creation process was proving frustrating. The answer was simply to forget the rules, forget the dogma, look at the focus of each particular chakra (eg. throat - speaking your truth) and use intution and intention gently sculptured by the research to build a track. Funnily enough the idea of strict following of dogma or ritual and process for spirituality was something that I had already discarded in regards to organised religions, but for the "new age" practices I fell back into the steps of enlightenment - Step 1: Meditate, Step 2: Cleanse with fasting and enemas, Step 3: Contort into excruciating posture... Fuck all that shit! So the lesson learnt for me was to worship how ever I want, to make my church where ever I lay my hat, that the keys to heaven are no longer held by gate keeper priests, swarmis, gurus or shaman- that sitting in the studio tuning an oscillator by using my ears, heart and spirit is as valid a path to enlightenment as a bed of nails or fasting in the desert for 40 days. For that matter riding a bike, a skateboard, listening to the sounds of a river all are valid forms of "worship".

The Chakra release led me to working with a transformational therapist and holistic health practitioner Heath Myers ( I had always found it frustrating playing ambient/drone things in a pub or bar environment. When performing live I wanted to give people a deep listening experience as opposed to background music catching up with friends drinking at the bar. After meeting Heath we talked about crafting a true meditative audiovisual experience, along the lines of a Robert Rich type sleep performance but with a stronger spiritual intention behind it. We formed Coalessence and we held 4 or 5 events. Using a healing system that Heath was trained in called the Liquid Crystals, each event was based on the crystal that aligned to the day the performance was going to be on. For example it might've been chrysoprase, clear quartz, or even gold. My part was to create the sound and vision. The process was research the crystal- the molecular structure, geometry and colours for the visuals and then to as said above, use my intuition and intention to craft the sound. Then there was three parts to the event- a simple movement  section based on Tibetan Yoga, a guided meditation from Heath and then the audiovisual journey. From the feedback from some of the audience members it worked well, so well that some people described out of body experiences and deep personal revelations, even physical healing to some degree. It was a blow out that in the right space with the right set up the sounds and images could have those kind of impacts. Seasons -  Earth Embrace , Foresight and The Solar Angel are all studio recordings of the sound and vision for four of the Coalessence events.

After Chakras and Coalessence came Haxan. Haxan has been almost a correction of balance in my work between the light and dark. Based on the 1922 movie which is a documentary re-enacted by actors it was a wonderful piece to work with. Being public domain there was the rich visuals to manipulate and the opportunity to research and learn more about the witch hunts of the 15th Century. 500 years later and reading about the stoning, hanging and torture of women that still happens makes it relevant today. Even though things are moving towards balance both between males and females and internally between our own masculine and feminine aspects there is a ways to go. So the darker sound and darker vision felt right and still does moving into my latest release Gates.

Gates ( was recorded at the end of 2012, after my performances at the Eclipse Festival in Cairns and over the period of the end of the Mayan calendar into early 2013. The Eclipse festival was full of new age experiences, rainbows and dolphins and unicorns, but there was also a darker undercurrent, not the hedonistic pursuit of pleasure that was there, but a true understanding of our insignificance. The substance ingestion, constant dancing and guru workshops seemed to be shields against the truth of three massive celestial bodies creating a perfect alignment. So Gates is that personal journey of beginning to understand my place in the world, amongst the corruption, the conspiracies, the abominable abhorrent way we treat each other, the animals, the plants and our planet.

One of the changes in Gates was shorter track lengths, moving away from the meditation aspect of my music into something shorter, darker, more aggressive and to the point. Unlike previous releases there wasn't an external theme as such to research- eg Chakras, Haxan/Witchcraft/Elements etc. Instead there was a deeper personal research, how to find a point of stability again after busting through this artificial threshold of control structures with few strategies to deal with it.

With the sound creation something that was quite effective was including metallic percussion in Haxan, recordings of meditation bowls, chimes, crystal glasses etc. This expanded into incorporating ritual drumming into Gates a further extension of crafting my own rituals. The visuals are a combination of animated geometry and processed video from three different sci-fi films found on the amazing public domain resource ( The celestial theme definitely runs through the visuals, but more specifically the human response to the expanded universe we now find ourselves in; a universe of multi-dimensional beings, channelled messages from ascended masters and the breakdown of the control structures of the 0.01%. That scene in the first moments we see people in space in 2001- that female attendant walking with baby steps in a low gravity environment - learning the basics, just to walk, all over again in this unfamiliar environment. If we don't have our technology to rely on what is left? Is there an internal technology that we still have to realize, or even just to recognise our true selves outside of the burden of technology. This guy called Jeff Brown said: "After your beloved is gone, all efforts to find her outside yourself fail. You have only one choice- to find God within yourself."

Mars in Sunset

Got a couple of remixes of Schemawound's atmospheric Terraform Mars album in this collection.

Analog Binary

This week the Disquiet Junto focused on the binary code aspect of the project number:
That last bit about "switch-ness" was a sticking point for me. Uusally I like to make sounds soupy so I can mangle them but the short transients of the switches pointed to a different approach.

It occurred to me that the switches would sound best if I recorded them with different microphones but time wasn't going to allow me to get too carried away. This weekend I had a couple of events, including the launch of Reimagining the Murrumbidgee. So I used my Nikon SLR with a Rode VideoMic to record the sounds with a view to editing together a video.

I cheated in using four switches across six tracks in Ableton Live. I recorded eight switches, mostly at work but a couple in my garage too. One in The Roxy theatre was mounted on metal, which gave a bigger resonance. Another was old and had a nice zing sound from a spring I think.

Once in Live the process was to find short interesting loops, where the transient didn't peak too much. I experimented with using Beatrepeat but switched (haha) to Audio Damage's Bigseq2 gating and filtering effect. A couple of busses were used, both with tape delay-syle effects. Loops were pitched, mostly down -- the bass part about two octaves.

South of the Grapevine

Doesn't really work for me. "This just makes Slayer sound that much more awesome" was my beloved's observation.


Here's the first of two recordings I'm publishing on Bandcamp this week. These are 20 of my favourite Junto pieces, from the 36 completed in the first 100 Juntos. It's a mixed bag in terms of genres but it's had a good response from listeners.

Some electronic instrumentals and some rock and some made from things like boiling water, ice in a glass, a ticking wristwatch, an interstellar space recording by the Voyager satellite, handclaps, etc. Only one playground this time :)

Merry Christmas from Clan Analogue

Downloads have been merrily enabled on the Clan Analogue Soundcloud account for festive purposes

Cheb i Sabbah

Early this century, when I was buying lots of music on CD, I bought a few albums by Cheb i Sabbah.

His global approach to dance music seemed more 'authentic' and used more than just a few flute and tabla samples, incorporating ambience and field recordings to enrich the Indian and Northern African flavours.

To be honest, his material hasn't been heard on my stereo in recent years but I listen to less music now. However, I was saddened to learn of his passing via a Bassnectar email promoting the fundraising effort for his family above.

His music was an influence on me, particularly this track called Slumber on my first album, SHAKES. I remember listening to one of his tracks to calm down a bit and focus when Toby and I jammed on the material.

Vapor Wave

My plastic kettle provided the boiling water, which was recorded using a Barcus Berry Planar Wave contact mic into a Zoom H4.

There were nice tones throughout the process of heating water but I restricted myself to the couple of seconds when the water was boiling. Missed that lovely rumble when the switch first went on.

Using Ableton Live I created four parts using two takes of a couple of seconds of boiling.

The first rotated through four loops pitched differently, which were gated using a couple of instances of Beat Repeat.

The second used Beat Repeat to create a percussive hit, hyped and massaged through various EQs and compression and then Beat Repeated again for variation every two bars.

The third was a bass loop, pitched down and reverbed before being Beat Repeated.

While the fourth was pitched up and followed a similar effects chain for the spray can-like noises.

This is my 36th Disquiet Junto I think. I've been revisiting the pieces recently with a view to compiling an album of the better tracks.

Reimagining the Murrumbidgee

Reimagining website is now up. So is the catalogue, which I desktop designed for Western Riverina Arts. Download a copy with my soundtrack via Bandcamp, see below.

This pic shows Sarah McEwan's artwork, which is really beautiful to behold.

The soundtrack for the exhibition is an ambient remixed landscape including birdsong, creaking branches and passing traffic.

"At one point you can hear a train crossing over the river near Wagga," Mr Richardson said. "I wanted to raise the idea of how far the water travels in produce exported from the Riverina.

"You can also hear the hum of Leeton's rice co-operative among the sounds of passing water. It was a challenge not to make a piece that would make people want to pass water."

Disquiet Junto video game music

My Junto piece this week took a bit of a leap from the instructions:

This morning I wasn't sure I'd get to the Junto. There's a CD I'm mastering and an article I'm trying to finish before an interview for another piece, as well as the catalogue mentioned last week. Anyway, when the opportunity presented itself to to work on a tune my instrument died. I'd planned to use my circuit bent omnichord but it seemed to short-circuit, which really sucks.

So I was kinda down and sulked for a bit before playing with the notes in Ableton Live. I picked a Phosphor preset that reminded me of what I'd heard of the X-Box. It didn't sound very 8-bit but I thought I'd use tape delay to reference the magnetic memory of the computer games of my youth.

Amon Tobin made a cool soundtrack for a video game and I was fascinated with how it manipulates the dynamics of the track to accomodate action (or the lack thereof) in a level setting. My track uses loops and automates the compression, channels, delay, EQ and tempo to create dynamics. It'd be cool if computers had delay artefacts in their noises I think.

Ended up enjoying myself and let the track run overtime. The tempo changes I imagined as processing problems in my hardware. Like how games would slow down when there was a lot of action onscreen.

Invisible drum kit

Mixes of 2013

Still got a bit over a month to decide on a list of the best mixes of 2013. There's a list for 2012 I put together last year here.

Anyway, as I've been looking through my downloads to share recommendations for a dinner party I thought I'd start a list here;

Suppose I better think about the best Solid Steel mixes because there have been many good ones, including this week. And Laurent Garnier's is good too.

It's not a mix but I really adore Jared Brickman's longplay ambient piano piece Every Day We Are Dying and Outer Space Does Not Give One Single Fuck. I was introduced to it via this Disquiet Junto.

circuit bent roland jv 1010 by spunkytoofers

circuit bent and used by seller for approximately 2 years.  item is a multitimbral synth.  due to the unit easily driven into distortion with bends the item is only recommended for single voice (polyphony is okay) instruments rather than full 16 channel mixes.  the variable results with the bends can lead to very imbalanced mixes and with only two outputs available i would only recommend this as a single timbral synth when circuit bent.  the item has occasionaly crashed on me and requires a power cycle in order to restore normal operation.  item has the spectrasonics sfx card permanently installed in the device.
the item will come with a power supply for north american countries only.
-36 point freely assignable patchbay via color wheel
-6 rotary knobs with 12 positions assigned to each
-6 color wheel knobs patches a rotary knob to one of three colors: RGB or off
-color wheels allow free matrixing of all knobs in up to 3 independant pairs of circuit bends or up to 6 stack of bends
-every point to bend has been addressed and available in the most complex interface while retaining ease of use and intuitiveness.
-binding posts suspend a contoured painted blue metallic duraplex interface for all modifications
-new memory battery installed

sound sample:

Squidfanny Trance Gate

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Circuit Bent
By Dave Bradbury - SQUIDFANNY
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Hacked, Modded & Circuit Bent AMSTRAD CKX100 Synthesizer.

This is an original 8-bit synthesizer from the late 80's. The machine has been heavily modified and upgraded with an array of new custom circuitry to expand it's features and sounds well beyond it's original specs.
It is now capable of producing a range of unique sounds and modulations, many of which are well beyond the capabilities of conventional synthesizers and often beyond description....

Please scroll down to see a demo vid, and details of the mods and features -

The Amstrad CKX100 is an original 8-Bit artifact from the late 1980's. It has a distinctive lo-fi sound and uses WAVETABLE synthesis to produce a warm, pleasing and ultra-harmonic tones from a bank of very grainy 8-Bit waveforms. It has a distinctive sound, which is quirky and unique.
The CKX100 has grainy Digital Drums with preset Rhythms & Accompaniment, Bleepy Electronic Instruments (presets only) & Lush Chord with a very cool 'Computer Aided Harmony' Feature (similar to the OMNICHORD).

It also has a MIDI output, so that you can use the 'Computer Aided Harmony' feature to play other MIDI synths, VST's, etc.

More info on the CKX100 HERE.

Click photo's for full screen and full album.
  • This machine works perfectly and can be used 'as stock' when required.
  • This machine comes with a new set of Patch-Leads, a suitable power supply (for UK plug), and printed Quick-Start guide with instructions.
Metallic Keys are nicely painted in various shades and multiple colours of Metallic Paint, and sealed with lacquer to protect the finnish.


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Click Play below for a DEMO VID showing this machine in action -

The various New Mods and features are briefly described below.

This machine comes with a printed DIY manual & Quick Start guide, with more details on the mods and features.-------------------------
Left Panel contains 'Trance-Gate' Analog Step-Sequencer -
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This machine contains an integrated Step-Sequencer, which performs three distinct functions, and can be synced to other suitable gear such as Monotribe's, Volca's or other suitable vintage or DIY gear.
  • TRANCE-GATE - A programmable GATE, with with controls for GATE LENGTH, an INVERT switch, a master ON/OFF switch & LED lights to indicate the status and GATE length.
  • PITCH-MOD - Programmable pitch modulation, with a DECAY knob, AMOUNT knob, master ON/OFF switch & LED lights to indicate the status and DECAY shape.
  • BOLT-BAY ARPEGGIATOR - Use the included Patch-leads to connect the bolts together and generate unique Arpeggiator effects made from different tones of Ring-Mods and disrupted distortion effects. This mod has a master ON/OFF switch and LED light to indicate the status.
The STEP-SEQUENCER has controls for SPEED, and a large chrome Rotary knob to change from 8-Steps, to 7, 6, 5, etc. 
In 2-Step mode, the Step-Sequencer will act as a standard LFO, with the DECAY knob changing the waveform from Square to Triangle & something closely approximating a Sine wave.
On the back of the machine are 3.5mm jack sockets, which provide Sync Input, Output and Reset. They will respond to a standard +5volt pulse from any suitable device (such as Monotribe, Volca, vintage drum machines, DIY gear or a MIDI-TRIGGER converter.
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-------------------------Right Panel contains Digital Glitch mods.

The real power of the Amstrad comes from these Digital mods, which are able to completely transform the Instruments, Chord, Accompaniment and Drums into unique sonic forms, many of which are beyond what can be achieved with conventional synthesizers.
Expect to find Lush Chords, Complex and Harmonic Arpeggios, Strange Delays / Echos, De-tuned Effects, Extended Envelope Effects, Digital Filtering, Ring Mods and an array of Modulating Compression, Strained Distortion and Bleepy modulating Sub-Tones.....

The CKX100 is able to produce some excellent 'Aphex' style Granular Effects and Dramatic Glitch Sounds which often defy description.... Use the GLITCH BUTTONS to generate Chorded Drones, Screaming Digital Noise and Granular Drum Rolls. Use the RESET BUTTON to Instantly reset the sound to normal again.

Right Panel Contains Digital & Glitch Mods -
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The new Knobs / Switches / Buttons & Lights are mounted on Thick Green PCB (circuit board), and the Flashing LED Lights above are mounted on Chrome LED Holders.

The Mods are activated and controlled by an assortment of Rotary Switches, Metal Toggle Switches and Push buttons -
  • Large Rotary Knob -  On the right of the panel is a large Silver Rotary Knob, with a toggle Switch below it and a Purple UV LED Light in a chrome bezel. This knob contains Bleepy squarewave tones, which modulate along with the rhythms, and can be used as a Sub-Oscillator along with the instruments. Use the Toggle Switch to activate & de-activate the tones. The LED light will Glow to indicate that the mod is active.
  • Small Rotary Knob - In the center of the panel is a small silver Rotary Knob, along with a Toggle Switch and a Purple UV LED Light in a Chrome Bezel. This knob contains 6 x Instrument / Chord Glitches which provide Beautiful Complex Arpeggios, Strange Echos, Lush Chords and Extended Envelope Effects. Use the Toggle Switch to activate the mod. The LED Light will Glow to indicate the mod being active.
  • 6 x Glitch Switches on the left of the panel - Use these switches on the Rhythms / Chord / Accompaniment for Dark Electronic Techno-esque rhythm Accompaniment and de-tuned chords. Use with the drums for weird pitch shifting and drum shifting Rhythmic effects.

  • Glitch Buttons - Scramble the Digital Circuits with dramatic sonic results. . . Use with the drums for Granular Effects and Grinding 'Aphex' Style Rolls. Use with the Chord / Instrument to generate Chorded Drones, Digital Noise, Instrument/Drum Cross Modulation & General Havok and Glitch Chaos.....
  • RESET BUTTON - Small Green Button below the right corner of the panel is used to Instantly reset Glitched sound back to it's normal state. This button allows the user to completely Scramble, Mangle & Corrupt the audio beyond recognition, and then instantly return the sound again.

  • Flashing Lights - 3 x Flashing LED Lights above the panel will pulse and flash along with the sound. The lights are housed in chrome bezels. The Blue LED will flash to indicate the Vibrate (when active).
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When the various modification switches are turned 'Off', the machine will function exactly like a standard CKX100.

I don't have a manual for this machine, but operation is very simple and you'll most likely not need one. Give me a shout if you've got any probs.

And so it is...........

Things to know before bidding -
  • This machine is 100% stable and reliable, however you will encounter random oscillation when switching between the Glitch Switches. Simply tap the RESET Button to instantly return the sound to normal.
  • This machine comes with a suitable 12 volt PSU for UK plug. It can also be powered with 6 x 'C' Type Batteries (not included). I've added a Polarity Diode, which will protect the circuits from in-correct power supply.
  • A new set of Patch-Leads are included with the synth.
  • This machine functions perfectly and can be used 'as stock' if required. Simply turn all Glitch Switches to the 'off' position.
  • This machine is sold with a 12 Month 'Repair or Replace' guarantee.

Thanks for looking, be sure to read usual Terms & Conditions below.
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Woven Audiobiography

The Junto this week caught a bizarre moment in my life:
The steps for this week’s project are as follows:

Step A: Choose a number from 1 through 6. You can roll a die or use an online number generator, or come to a decision on your own.

Step B: Write a 100-word text beginning with one of the following phrases, depending on the number you selected. Where there are brackets fill them in with the appropriate information.

“I was born in [ ] and I like …”
“My name is [ ] and I was thinking …”
“This morning I had a sense that …”
“Try as I might, the same thing …”
“The last book I read was and …”
“On a Sunday morning I usually …”
Step C: Write a 90-word text beginning with the same phrase.

Step D: Write an 80-word text beginning with the same phrase.

Step E: Record yourself reading the three texts as three separate tracks. Record each at the same pace. Speak slowly and take an extended pause after any period.

Step F: Layer the three tracks into one track. They should all begin at the same point and the first few words should, more or less, overlap to the point of being indistinguishable.

Step G: Take a couple passed through audio, lightly balancing relative volume levels to emphasize key phrases or, for that matter, to enhance the low-key cacophony.

Step H: If you desire to, weave in one tonal element, though not so loud as to overpower the speaking.

Deadline: Monday, November 18, 2013, at 11:59pm wherever you are.

Length: Your track’s length will be determined by the longest of your three recordings.

Background: This week’s project originated as part of the Oulipo Sound Workshop that was included in the Subtle Channels series of events held in San Francisco earlier this month (November 2013). The three-hour workshop provided an opportunity to explore the role that Oulipo literary constraints play in the restricted rules of the weekly Disquiet Junto projects. There were four projects that day, including a listening exercise, a word-based one based similar to last week’s Junto project, and a subtractive one along the lines of the 7th Disquiet Junto project from back in February 2012. The fourth was a simpler version of this week’s Junto.

Information: Please when posting your track on SoundCloud, include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto.

Title/Tag: Include the term “disquiet0098-wovenaudiobio” in the title of your track, and as a tag for your track.

Download: Please consider employing a license that allows for attributed, commerce-free remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution).

Linking: When posting the track, be sure to include this information:

More on this 98th Disquiet Junto project, in which three original spoken texts are combined into one track, at:

More details on the Disquiet Junto at:

- end -

On Saturday morning I wrote my pieces for the Junto:
This morning I had a sense that I should've slept longer. It was still dark but the rumbling in my stomach suggested it was the right time for me to awaken. So I got up and had some diluted apple cider vinegar, which has become a favourite drink and I'm told is good for my health. Then I returned to bed with my laptop and began visiting the usual sites, news and social media. There was a mix of outrage at the government and some mirth.

This morning I had a sense that it was going to be a good day. In a large part because it's Saturday and I've had a busy week, flying to Sydney for a meeting early on and returning to multiple deadlines for a theatre show and an upcoming exhibition. A catalogue for the latter is currently in the back of my mind but it'll have to wait until Monday -- which is when I'll be bumping in the theatre show anyway. Should be another busy week but that can be a good thing.

This morning I had a sense that I wasn't alone. My daughter had snuck into my bed at some point in the night, which isn't unusual. She seems to endure nightmares frequently. I'd had a dream myself. It involved discovering someone burgling my home and when I called the police I got an answering machine message, which isn't all that uncommon as the local police station is often unattended. The really dramatic part that had awoken me was that the burglar had confronted me. When he realised the police weren't coming, he'd turned away and I saw a second face on the back of his head.

It's funny, in hindsight, because there was a strange kinda foresight in the text. I've written about the weird dreams on my ShowcaseJase blog.

When recording the pieces I took the opportunity to try different microphones:
  1. I used an Audio Technica AT2020 for the 80-word piece. It sounded a bit dull and I added the most reverb to it. 
  2. A Rode NT1 recorded the 90-word piece. I think it has a metalic-sorta edge.
  3. A Shure SM7 captured the 100-word piece, it's great on male voices and you can hear the difference in proximity as it was closer to my mouth.
When mixing I panned the second recording to the left a bit and third went a bit to the right with some widening with the EQ. The first seems more legible with the reverb. Delay was added to the third and longest part, as well as some resonator. The echo effect at the end seemed right for the dramatic ending but might be pushing the constraints of the Junto this week.

Jack Ruby's greatest hit

Nabbed this from Facebook, so I don't know who is responsible for this audacious photoshopping. I like to think it's the same wit who gave Jimi Hendrix an accordion.

Grayson Perry on the value of art

"...the person who’s getting the most out of any artistic activity is the person who makes it because they’re sort of expressing themselves and enjoying it, and they’re in the zone and you know it’s a nice thing to do."

From the Reith lectures earlier this year, so the hyperlinked quote above goes to a PDF. All four Grayson Perry lectures can be found here.

Recently I was introduced to Perry's work via this great conversation with Brian Eno.

Beastie drum machine

Joe Mansfield's forthcoming book Beat Box: A Drum Machine Obsession has been on a few sites this week. This pic was on The Wire's website. It makes me feel a lot better about owning five drum machines!

The Maestro Rhythm N Sound for Guitar G2 shown here featured on the Beastie Boys' underrated Check Your Head album and I wonder if it inspired the track below.

PS -- Really like this idea of retrofitting MIDI. It's beyond me but tickles my recent obsession with circuit bent gear. Cheers Techdef!

Disquiet Junto aluminium remix

The Disquiet Junto this week is a tribute to Lou Reed:
Using the phrase "Metal Machine Muse" as your guide, create a tribute to Metal Machine Music. Please employ at least one actual metal in your work, and note it in the title of your track.
It neatly dovetailed with my plan to remix the fence at Leeton Child Care Centre that I've previously posted about, although I had to edit it to under five minutes as per the guidelines. Hopefully the full version can also go up on, although to be blunt it still shits me this recording doesn't get the "evil double bass" tone here.

Pretty sure the fence is made of aluminium and this remix also features nickel in the strings on my Yamaha fretless bass. The rhythm reminded me of Corey's performance on this fence earlier this year. The drums are from Audio Damage's Tatttoo via Ohmforce Frohmage filter. There are a bunch of effects too.

I saw Lou Reed play at the ANU Refectory around the turn of the century. A friend of mine had won tickets but couldn't go, so I pretended to be Andrew Pippos for the night. Mr Reed picked a fight with someone in the crowd but played a good set, supported by a drummer who seemed to be giving directions to the bassist.

Big Beat comeback

Chris Randall posted this video on his blog with a description of Big Beat and the acts that popularised this style of EDM in the late '90s. It struck me as being the sorta track I'd more likely call Electronica, as it has less of a focus on samples from (sometimes cheese-y) sources that characterised the Big Beat tracks of Fatboy Slim, Bentley Rhythm Ace and The Propellerheads.

Not to look like a pedant because it seems the use of the term Big Beat varies depending on which side of the Atlantic you reside on:
Big beat later gained popularity and commercial success in the American market, largely due to the "rock-like" qualities and influences cited in the work of The Chemical Brothers and The Prodigy, who were featuring loud and heavy guitar sounds more and more in their material at the time.

One of my favourite sources of Big Beat was the Dope On Plastic compilations, which started in 1994 and successfully picked a number of tracks that went on to find popularity like Blueboy's 'Remember Me', DJ Kool's 'Let Me Clear My Throat' and 'B-Boy Stance' (featuring Tenor Fly) by The Freestylers.

Found this beaut mix of Plastic tracks while googling:

Naturalist trio

The Disquiet Junto this week was a bit like an Iron Chef-style challenge to create a song from only three ingredients:
Combine the following three field recordings of animals into an unlikely vocal trio: 

You can manipulate the sounds as you see fit, but at some point in the finished piece each sound should be recognizable by its source material. You may not add external sound sources.

My approach was to find a rhythm first. I used the bird recording because the gain on it was going to be a problem without gating anyway. Then I tried to make a bassline from the pig but it ended up sounding better as a kind of synth sound with a resonator. I looped the kitten to make the bassline, using my favourite Ohymboyz preset for the swelling drone.

To give the piece some structure I automated a few fades, as well as re-looping the pig and re-pitching the kitten. During mastering I ran the track through an EMT140-style reverb for that chrome character.

Netlabel hybrid

The Disquiet Junto this week asked for a remix drawing on sections from three tracks released under Creative Commons.

I settled on a few short loops from Archean by PlotKA for the drums and the bass comes from Dark City by Marc Pastco, although I reversed it. My remix opens with a short loop from Zamenhof Blues by Digital_Me, which you can hear pitched up four octaves and after that it adds grainy bursts of texture.

Most of the effects come from Ableton Live, particularly Beat Repeat, Gate, Autofilter and Resonator.