Nice-looking Piezo buffer/amplifier.

Greatly enjoyed seeing – and playing – Luisa Pereira's _Counterpointer_ at Loop last week.

Beautiful, beautiful character design in this ident for the Style Frames conference.

"Often, on a Friday or Saturday night in the cottage on the tiny Orkney island where I lived alone for two winters, I wanted to be on a crowded dance floor in small clothes with sweat running down my back. I felt like an old woman before my time, beside the fire with a blanket over my knees, and missed the throb of the city and of nightlife. Lately, I’ve learned the German word “Fernweh” (literally, “distance pain”) which describes the feeling of wanting to be somewhere else, like a reverse homesickness (“Heimweh”), a longing for a place that isn’t where you are. I was struck by the word because I know how it is to be uneasy and never quite at home." Amy Liptrot, in Berghain.

"My fascination with electronic music centred very much around my love affair with the Buchla electronic music system. Don Buchla didn't like the word ‘synthesizer’ because it had misleading connotations. Some people thought of the word ‘synthesizer’ as relating to ‘synthetic’, or that it was imitating existing sounds, whereas he wanted to be clear that this was a completely new domain—this was a new instrument. The instrument that I had did not have a keyboard: it was played by moving knobs and dials and placing patchcords and constructing an internal routing, so that you could design your instrument within the instrument. And sometimes I would spend months coming up with a living, breathing patch that generated the sonic environments and sounds that I wanted to hear. So it wasn’t keyboard. The keyboard was added as a…I think Bob Moog did that in order to lend understanding to the masses as to what this was, because in the early days people really could not understand where the sound was coming from or how it was generated. It was all so unfamiliar that putting the keyboard on it bridged a gap in understanding. But it also short-circuited the potential of those instruments because the keyboard interface came from a mechanical universe. It produced, mechanically, one event for one action. Whereas in electronic music we were used to touching a key, say on a flat plate, and maybe 50 things would happen." Great interview with Suzanne Ciani, including some great details about instrumtiness.

Good looking Unity audio library (as used in Mini Metro).

"…she asked me, cautiously, “Wouldn’t you say that anybody who thought as much about balance as I do in my work probably felt some threat to their balance?” After a long pause, she added, “Of course all adolescents are out of balance, and very aware of it. To become adult can certainly feel like walking a high wire, can’t it? If my foot slips, I’m gone. I’m dead.”" Wonderful profile and interview with/of UKLG.

What it says on the tin. Thoughtful and insightful.

A scan of a six-page conversation between De Palma and Coppola about "The Conversation" (which is, still, probably my favourite film).

Good overview of a straightforward approach to mastering.

Lovely interview with Sean Hellfritsch on music, sound, and process. Just great – inspiring in the warm, meaningful ways, not the flippant euphoric ones.

Lovely, lovely documentary by Olivia Laing on Arthur Russell.

Lovely documentationn of a live performance by Suzanne Ciani and Kaitlyn Aurelia-Smith.