Thursday, November 21, 2002

What would you be ashamed enough to kill for?

Thursday, November 14, 2002

Directory of US Confield Mazes

Monday, November 11, 2002

Flash museum of Old Drum Machines

Friday, November 08, 2002

Wednesday, November 06, 2002
Wasilli Kandinsky's theories on synaesthesia, the crossing of the senses.

Tuesday, November 05, 2002

David Lynch - Sound Design & Boss Pedals:
"Another favorite is the OC-2 Octave, which they deliberately try to confuse with dirty tones so that it struggles to grab the note, which results in what Neff describes as a "broken up, jarring effect."

Other bits:
"I remember Jocelyn took a glass bowl and made a ringing sound going round the rim with a wetted finger, which we then recorded onto the 24-track and vari-speeded to make these really eerie chords. I printed many tracks of the bowl at various different pitches, and by moving faders on the console I could change the chord, a little bit like drawbars on an organ. The way we were able to accurately tune it was with the BOSS tuner."

Wednesday, October 30, 2002

online magazines for paranormal research:
Strange Attractor
Third Stone Magazine
Fortean Times

includes hypertext editions of Charles Fort's writings.

Sunday, October 27, 2002

Rain effect for drawings:
info courtesy of Lisa Renee Jonté

Friday, October 18, 2002

Movies to watch:
Point Break
Raising Arizona
Dangan Runner
Nowhere to Hide
The Fugitive
Marathon Man
info courtesy of The Emporium

Tuesday, October 15, 2002

Comic book computer lettering tutorial by blambot Nate

How to install fonts


Larry Young's font
The Halcyon Years Part 10
"The Sleeping Dark Things"

Links to information on Fall River, MA

The virtual Lizzie Borden House

Thursday, October 10, 2002
Flash Tarot deck by Brian Laframboise

Wednesday, October 09, 2002

Monday, October 07, 2002

Books to check out:
Infinite Jest by David Foster Wallace
Graviry's Rainbow by Thomas Pynchon
pitch Hz chart
B6 = 1975.3834 B5 = 987.7263
A#6 = 1864.5191 A#5 = 932.2922
A6 = 1759.8768 A5 = 879.9692
G#6 = 1661.1073 G#5 = 830.5828
G6 = 1567.8811 G5 = 783.9680
F#6 = 1479.8870 F#5 = 739.9695
F6 = 1396.8314 F5 = 698.4402
E6 = 1318.4372 E5 = 659.2417 (1st string - guitar)
D#6 = 1244.4426 D#5 = 622.2431
D6 = 1174.6008 D5 = 587.3210
C#6 = 1108.6788 C#5 = 554.3588
C6 = 1046.4565 C5 = 523.2465

B4 = 493.8804 (2nd string - guitar)
A#4 = 466.1624
A4 = 440hz
G#4 = 415.3059
G4 = 391.9977 (3rd string - guitar)
F#4 = 369.9977
F4 = 349.2323
E4 = 329.6324
D#4 = 311.1324
D4 = 293.6708 (4th string - guitar)
C#4 = 277.1891
C4 = 261.6324

B3 = 246.9489
A#3= 233.0894
A3 = 220.0077 (5th string - guitar)
G#3= 207.6602
G3 = 196.0057 (1st string - Bass)
F#3= 185.0053
F3 = 174.6223
E3 = 164.8220 (6th string - guitar)
D#3= 155.5717
D3 = 146.8405 (2nd string - Bass)
C#3= 138.5994
C3 = 130.8208

B2 = 123.4788
A#2= 116.5488
A2 = 110.0077 (3rd string - Bass) Big problem spot!
G#2= 103.8338
G2 = 98.0063
F#2= 92.5059
F2 = 87.3142
E2 = 82.4139 (4th string - Bass)
D#2= 77.7886
D2 = 73.4229
C#2= 69.3022
C2 = 65.4127

B1 = 61.7415
A#1= 58.2764
A1 = 55.0058 (5th string - Bass)
G#1= 51.9187
G1 = 49.0049
F#1= 46.2546
F1 = 43.6586
E1 = 41.2084
D#1= 38.8957
D1 = 36.7127
C#1= 34.6523
C1 = 32.7075

Friday, October 04, 2002

Formula for delay calculations:

1000 milliseconds = 1 Second
Alan Moore's Twilight of the Superheroes proposal:

Free Sound Effects page:
The Only Blip Hop Record You Will Ever Need, Vol. 1
Statements of Milwaukee boys describe man's horrific beating; charges mulled

Thursday, October 03, 2002

Name research

Tuesday, October 01, 2002

LA fashion designer Jared Gold's website

Monday, September 30, 2002

Storyboarding pads

Friday, September 27, 2002

Balanescu Quartet,
Apples in Stereo,
Frank Tovey/Fad Gadget

............lengths of various 4/4 beat loops:
120BPM=2 seconds
129BPM=1.86 seconds
145BPM=1.66 seconds

............Formula for calculating BPM:
60seconds / length of the loop X number of beats = BPM
60/2 seconds loop X 4 beats = 120BPM

Thursday, September 26, 2002

Timothy C. May's Cyphernomicon

Monday, September 23, 2002

Virtual Theremin

Virtual drum machine museum
Delay -a synopsis by Rob Carbone

Delay is a time domain controlling device, versus the more normal tonal domain
control found in disortion, wah-wah, and even the flanging/chorusing/phasing
family of tonal manipulation. The one common thread between the
flanging/chorusing/phasing family is that there is still an oscillator
controlling the effect where as wah-wah is a manually controlled oscillation and
distortion and overdrive are merely overpowering the signal.

Okay, with that said, delay is like having a constant linear sampler being put
through an oscillator, the oscillation is the amount of repeated sound with the
decay control being the rate/time factor.

Mix is the amount of original sound you will hear with the delayed effect, it is
in essence a mixer, since it is a mixing knob, and this alone opens up a facet
of sonic potential.

Attack is how the delay will sound from a staccato saw tooth wave to a resonant
sine wave. This can be used to accent the delay, from single note or chord
stutters to a singing vibration of resonant chord/arppegiation/note/ sound.
What ever you want from the note, this will accent.

Delay Amount/Repeat is how many times you want the sound to repeat. This can be
from a simple note for note repeat to a long series of repeats.

Delay Time is how long you want this to carry on for, just like a decay control
on an analog synthsizer.

Now, combinations of amount and time can carry out a variety of effects. A
short repeat amount and a long delay time can be like a slap back/empty room
repeat. A larger repeat amount and a shorted time can generate a reverb like
delay. Large amount of repeat and longer delay times yield anything from Pink
Floydian delay to cascading walls of glorious feedback as sounds crash upon
sounds in a cacophanous symphony. It is all in how you manipulate the envelope
of repeat and decay.

Placemant of the delay in a chain of effects is another point to think about,
while you may want to repeat a manipulated sound, you would put it at the end of
the effects chain, and if you wanted the delay to be subject to tonal
oscillation as it repeats, you would situated it at the front of the effects
chain. Wah-wah is the same principle, if the wah-wah is to be delayed, put it
in front. If the delay is going to be manually manipulated by the varying tonal
envelope, put the delay in front of the wah-wah.

It can be fun to put the delay within reach of fingers (or toes, if you are an
evolved ape man like me,) so you can manipulate the factors of amount and time
at you or the song convenience. Twist a knob while a chord rings out or a note
starts to decay naturally.

Other things to consider are song tempo, and how you are playing the piece of
music through it. The more you play, the more that is going to be repeated in
the phrase, remember this is a constant feeding of sound going through the delay
envelope, so less playing means a more precise repeat. Think of it as duh ...
duh. Dahdunh duh ...dahdunhduh. But if you keep playing or feeding back it
will rush and swirl together.

Thursday, September 12, 2002

Wednesday, September 11, 2002