A few first impressions:

Decent sized keyboard, but weird key placement: there are in fact two backslash/pipe keys, both placed for maximum annoyance where my fingers expect the Enter and left Shift keys to be; more on this below. Included battery is a bit clunky but packs several hours’ worth of power. The camera (see right) is possibly worse than my cheapass phone, but I’m not too bothered about that.

The model I have came with Windows XP, which I have no use for on a daily basis - Windows and I simply do not get along. However, it may be of some use for, say, previewing websites, and in any case this machine has more than enough drive space to keep it around. So I’ve loaded on the latest Ubuntu Netbook Remix (version 9.10, codenamed “Karmic Koala”). The installer conveniently partitioned the drive and set up dual booting. It’s snappy, no-frills and wakes from suspend mode in an instant, and features a simple launcher app that provides access to your programs. However, there are numerous quirks and pitfalls, even with this most user-friendly of Linuxes. I’m no Unix expert, so it was a good day or so of Googling and gritting of teeth to get everything in order.

In particular, it took ages to get wireless networking going. The basic procedure turned out to be something like: download the drivers for the Broadcomm wireless adapter and extract to a handy directory; install ndiswrapper and ndisgtk using the Synaptic Package Manager; launch ndisgtk and tell it where the driver .inf file is, and things should work—however, your proverbial mileage may vary; I found the solution through much trial and error and online forum-digging.

Likewise a hack to make those ridiculous backslash keys behave like Shift and Enter. One solution turns out to be simply: create a file called .xmodmap in your home directory and put the following in it:

keycode 51 = Return NoSymbol Return NoSymbol Return
keycode 94 = Shift_L NoSymbol Shift_L NoSymbol Shift_L
add Shift = Shift_L

There are some hiccups with Javascript under Firefox, notably Gmail’s labeling system (rather than opening a dropdown, it just sent everything to my Drafts folder).

The standard codecs for audio and video don’t seem to work. There may be fixes down the road for this, but again, I’m not too concerned; I have an MP3 player for that.

UNR has a background app that makes sure programs launch in full-screen mode, which is great most of the time—there’s no room for multiple windows on something this size. However, it has odd effects on some programs intended for a windowed environment, and it helps to know that Alt-F10 switches the current program in and out of full-screen.

And speaking of that little screen: surfing, reading or doing pretty much anything else that requires staring at it for too long is a recipe for a stiff neck and a headache. (For similar reasons, I’ve decided my hand-me-down iPhone is a lousy game machine.) But that’s not such a handicap—all I wanted, after all, was a fancy word processor. So if you ever see me touch-typing and staring off into the distance, you’ll know why.

One particular aspect that interested me was Pärt’s use of process, following simple, deterministic procedures to generate stirring music from extremely limited material. It’s similar in some senses to Steve Reich‘s phase pieces, or Brian Eno‘s loop-based ambient works, but there are big differences.

Reich’s phase music uses short loops, whether that’s physical loops of recording tape, percussion or piano figures that are simply repeat throughout the piece. These fall in and out of phase with each other, shifting from unison to a subtle echo to cacophony to tightly interlocking patterns, and finally come back into phase again, bringing the piece back to where it began.

Eno’s ambient pieces, such as Music For Airports, were inspired by Reich’s work, but use loops of uneven length that will practically never repeat. Eno’s self-stated goal was to create pieces that were effectively infinite, something he was able to explore further once computer music technology allowed it—he coined the term “generative music” to describe it. It comes as no surprise, really, that Eno’s designing the chimes to be sounded by the 10,000-year Clock of the Long Now.

But where Reich’s pieces are cyclic and Eno’s aspire to being infinite, Arvo Pärt’s music is more fatalistic. We heard a recording of his Cantus in Memoriam Benjamin Britten, which uses as its basic material a descending A-minor scale, with violins moving fastest and lower strings progressively more slowly, but all moving toward the tonic—their ultimate destination. The whole piece is relentless in its finality, moving inexorably downward until at last the high strings linger on their notes, waiting for the basses to catch up, and the long final chords boil with a kind of dread—fitting for a meditation on death.

The Estonian Philharmonic Chamber Choir close out their North American tour with a stop in Toronto tomorrow night, but sadly, I won’t be there. My consolation: we’ll be in the studio mixing the new Flickershow CD!

I’d been avoiding the issue for a long time, but today we had a truck rented to do a Goodwill run, and I made the decision to let them all go, pretty much on the spur of the moment. It was actually the first time I’ve been in a CD store in years, and aside from the occasional gift, I don’t imagine I’ll have any cause to do so again. I felt more than a little awkward walking in there with all my boxes — while I was giving them a lot of good stuff (several hundred dollars’ worth, in fact), I was essentially renouncing their services as well.

Aside: my first musical purchase, to my memory, bought at a little shopping mall music store: a cassette of 1000 Airplanes on the Roof by Philip Glass (having been mesmerized by a clip of Koyaanisqatsi on TV).

I don’t remember what the first vinyl I bought was. My mother and I used to park at Yorkdale and ride the subway down to Osgoode to shop at the book and music shops along Queen West, and I picked up lots of Eno, Tomita and Jean-Michel Jarre at Driftwood Music.

First CDs: Electric Cafe by Kraftwerk, The Shutov Assembly by Brian Eno and a 4-track sampler from Hi-Tech/No Crime, an album of YMO remixes by contemporary (ca. 1991) UK electronic acts. The last CD I bought for myself was Komeda’s Kokomemedada.

The hardest part: letting go of all the vinyl box sets of classics Sean’s late father collected and treasured, which we’d had for ages but never played. In the truck, we agreed we’ll have to download some of his dad’s favorites — he was fond of the Russians, especially Shostakovich, and loved opera too. Perhaps something to listen to as we unpack and settle in.

I’ve been making up some patches for my Evolver synth to use it as an effect on guitar or bass, and thought it’d be nice to have some sort of pedal to control it, along the lines of a wah or volume pedal. The desktop model of the Evolver lacks a pedal input, hence the Express (for “expression”, both of the musical and genetic kind - evolution, geddit?). Currently, it reads one analog pin and spits out continuous controller data. Nothing particularly spectacular there, but it did fit wonderfully into the sturdy steel case from a computer keyboard A/B switchbox. There’s room for lots more inputs, and eventually I figure it’ll sport an additional analog in and some footswitch inputs which will send things like note on/off messages.

I’m still new to making enclosures, and to working metal in particular - instead of grinding out a hole that was slightly too narrow, I used a drill, which grabbed hold of the edges and warped the heck out of the front panel. Panic set in for a moment, but I managed to bash the thing back into shape using a busted old hard drive(!) as an anvil.

Word to the wise: there are two incompatible standards for the wiring of expression pedals:

1/4” - tip to wiper / ring to +5V / sleeve to ground: Clavia, CME, Electrix, Emu, Kurzweil, Oberheim, Roland/Boss
1/4” - ring to wiper / tip to +5V / sleeve to ground: Kawai, Korg, Yamaha

The former arrangement allows you to use a standard normalling jack to connect the tip to ground by default, so the input doesn’t float if nothing’s plugged in. I’m using a Boss pedal now, but my other pedal is a Yamaha, so if I want to use it as a second input, I’ll have to wire up something to cross those connections.

Being easily distractible by possibilities - giant trackball! LED matrix! stepper motor-controlled time-lapse photography! - I’m desperately trying to focus on a couple of projects at a time. Arduino project number two at present is using it for ultra-cheap and dirty sound generation, with piezo disc speakers plugged directly into the digital outputs. A little hacked-together code, and voilà:

The Bee (MP3, 640k)

I call it the Bee, though “Mosquito” might have been more appropriate. Modulating the pulse width creates some nice motion, but there’s a lot more to do, like getting R/C filters to tame some of the harshness - it really is annoying after a while. Oh yes, and putting a switch on it to shut it up between tests. And, of course, buttons and knobs to play it with… maybe even some sort of acoustic treatment, like a resonating soundbox or a spring reverb.

• electric guitar (a Dano 12-string jangle on “Invincible” and some sweet swell-pedal action on “Still Life”) courtesy of Dominic;
• more drums and percussion by our engineer/producer Don
• violin on “To The Nines” by Andrea and more on the way for “Aphrodite”;
• crazy undersea bowed-string noises and vocalizing on “Siren” from Rami
• organ, piano and harpsichord, courtesy of Richie; and
• a suitably over-the-top trumpet section on “Mute” all played by Stefan.

Who knew just sitting and listening could be so much work? We’ve learned a lot about listening, and coming up with musical ideas on the fly, not to mention guiding other people into realizing those ideas. It’s a fun challenge, communicating musical concepts to other people through words, singing, vocal noises, and occasionally, actually writing things down.

Julian had always had a trumpet melody in mind for the bridge on “Mute”, and wanted big, bold chords for the ending. I added a harmony to the bridge, and started fleshing out the “chords” idea with a swingy rhythmic motif… and then realized I was going to have to write the thing out. I’d composed the part in Logic, and couldn’t get the program’s “Score” view to output anything that made any sense. So I summoned up every last bit of music theory I’d ever taken, and wrote the whole thing out. Took a couple of late nights, and I worried that it was illegible, but our players approved.

Here’s the bridge from the demo version, with lovely synthesized trumpets: Mute (trumpet demo, 880k)

Not everything we did could be scored, of course, but regardless, we found it really, really helps at least to have a clear idea of what you’re after before you start. When Rami came by to play, bringing with her an Iner Souster creation called “Fat Bob”, we didn’t have parts written out - Bob, having one string and no fingerboard, isn’t particularly suited to playing melodies, anyway - but I think we had a strong idea of the texture and atmosphere we were after. J quickly joined in, offering images of a ship breaking apart at sea, the creaking of the rigging, the cracking of the timbers and the crashing of the waves. I’m really looking forward to sifting through the resulting noises and building them up into a soundscape.

Lots more to go: more drums, keyboards, backing vocals, violin and percussion - not to mention mixing and mastering. But it’s all starting to come together nicely.