Kudos to radioshack of yesteryear for making this little amp super easy to disassemble, clean the pots, and reassemble. Excellent $5 secondhand purchase.

slow developments in transducer feedback land:

- I started using a different preamp for the piezos and it's great
- I started using supercollider and it's great
- The spectral compressor-expander I was using in pd has a direct analog in sc and it's great
- I started using a plank of cedar(?) which I think will be in the next box and it's great

here are four bandpass filters roaming over resonant feedback nodes on the plank, bathed in a swath of reverb

(noisy enough?)

I need to stress test my analog gear. Fortunately it's . Here's a mess of feedback paths (no squeals, just noise).

I like feedback conceptually. Noisy feedback patching isn't really my sound, but it's pretty fun to play with.

Some quick drone, the process of which is marginally more interesting: these were output from a pd patch running on a raspberry pi, into the maple box, and taken from the piezos out into my interface. The important part for me is that the whole thing -- Pi, Pi's interface hat, 20W amp, and homemade input buffer -- ran on a battery that only puts out 5V at 2A, even while I was SSH'd to the Pi.

Now to figure out those weird clicks...

slightly rushed drone. Ringmodulated square waves through slowly modulated filters. Some nice subtle emergent artifacts.

some analog noise spackle for you. noise & gates sent through 2 different distortion / wavefolding paths and a tiny bit of filtering at the end.

I hope that at some classical performers' conference or band geek reunion somewhere, someome has done a spin on the Manhattan cocktail and called it the Manhasset

Some more staid rhythms and tones.

: The intersections of two pairs of related waves (turns' quadlfo) trigger impulses in a network of resonance (resonant filters and IO transducer feedback on the maple box). These triggers also sample another wave which becomes the pitch of a whistling sound (timing of which is controlled by a different s&h process).

(is @PatchNotes still a thing?)

Mother-32 (sounding not very moog-ish) and pinged filter through a wavefolder, both output the maple box. Driven by crow with some manual intervention & tamed feedback.

(Definitely some work possible to massage the script, but it's pretty fun already)


Random issue fix that needs to be out there in the world: if you find that your measure numbers are missing after a certain point, it's often because Sib can't grok your repeats structure. The fixes out there online say to either fix it with notation or notate it with elements that Sib doesn't recognize as affecting the repeat structure, but you can disable the element's playback with the inspector's "Play on pass" options and avoid changing your notation.

Alc recco 

If you're in the PNW and you like farmhouse beers, this one is definitely worth a try. Mildly sour, mildly wild. Brewed in Penticton, BC. Tasty tasty tasty!

This tome just arrived from Russia, the day before I leave for vacation. Guess that's my reading material set.


Some gentle feedback (quiet, no surprises).

Mic, acoustic guitar with built-in piezo pickup, speaker, transducer on body of the guitar. Manually mixing the feedback routes, adjusting the intensity of a spectral compressor on each route, interfering the feedback by obstructing the acoustic paths (damping the body & strings of the guitar, putting myself between the speaker and the mic).


More clicky tangled wave interference stuff.

Kicks are low filter pings run through a mild wave folder. These are generated by the intersections of two sawtooth LFOs run through another wave folder (Cold Mac crease) and clock divider. The slower clicks are roughly the same output but taken before the folder.

The faster clicks & high filter pings are from M32. A PWM wave modulated by a slightly FM'd LFO running through a high-pass filter.

And a tiny bit of sequencing.

here's a @PatchNotes example.

The compressor-expander basically has the effect of making the spectrum more or less "peaky"; in a feedback patch this can emphasize or de-emphasize resonances. (De-emphasizing is called "spectral whitening" in analysis contexts I think.) This is great for feedback because there are usually a few resonant nodes that utterly dominate; making the whole spectrum less peaky de-emphasizes those and lets other nodes resonate.

Here's the 2-channel maple box again.

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@PatchNotes some low gurglies from the maple box

each IO channel is digitally amplified by quite a bit, tanh'd, passed through four stacked band passes, two low-passes at the same pitch, and back out. The levels of the stacked bands are slowly modulated, and the rest of the change comes from handling the box.

This session was a test drive of some updates I did to the maple box, mainly to mount TRS jacks on it, clean up the wiring, and put cork feet on it. I'm pretty happy with how it turned out, it really makes the whole thing feel less hacked together.

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@PatchNotes another growly, whining, wildly clipping feedback box session.

Box -> limiter -> resonant low-pass -> modulated wavefolder -> box. Tiny bit of "playing" via knob-tweaking and manipulating the box surfaces.

Need to get my patching techniques together -- this maple box likes to scream and growl, but I'd like it to not do that all the time.

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