(UPDATE: Same great post, now with the correct date for the event: June 28, 7pm)
Good news, everyone:My latest novella—Expiration Date—is available free online this summer!Here’s the official blurb:
This science fiction “till death do we part” story follows young Lizzie and Bram in a relationship on fast-forward. Armed with the knowledge of her scientific discovery, Granny Gin burdens the couple with the question “What would you do, if you knew your end was near?”
First chapter went live early this morning; check it out!New chapters every week.
But wait!There’s more: The official book-release kick-off party is next week:
WHEN: June 28 @ 7pm
WHERE:Ann Arbor District Library Pittsfield Branch, 2359 Oak Valley Dr, Ann Arbor, MI 48103
WHAT: A reading, some chit-chat, free tea and snackies from the sponsors, Arbor Teas, and free high-fives from me!
Just a quick one:For folks who are having trouble with writer’s block (either in their professional or creative work), I’ve put together this little week-long clinic.Totally free, no strings attached. My gift to you. Check it out:
I’ll be at Penguicon again this year (April 28–30).But instead of just sitting on a few panels and mooching a lot of free drinks, I wanted to do something extra special.So this year I’m spending the entire weekend building something extra special for you to experience and interact with—and for the Slinkies to finally be heard.
Won’t you join me—and the Slinkies—before it’s too late?
A reader recently asked for audio samples of a few projects from my first book, so I made this quick lil video:
(Daaaaamn does that fuzz tone wail—and it’s literally ~$5 in parts!)
You might need headphones to hear the detail on the straight tremolo, but the throb becomes really pronounced at the end when I chain the two effects together.
In the process of uploading that demo video, I stumbled across this guy’s build of the Single-Chip Space Invader synth from my most recent book. Oh, man, do I love that Star Wars lunchbox he used as a case! So rad!
Any of this look rad? You can download a “jam pack” of complete projects drawn from both books. Click here now to get your freeJunkyard Jam Pack PDF!
I love, love, love(!!!) seeing and hearing the projects my readers build, and sharing them with folks thinking about how they want to tackle these same projects. First up is Jason Jaknunas’s take on the Bleepbox 8-Step Analog Sequencer (Project 16 in Junkyard Jam Band)—which is easily the best version of this I’ve ever seen (it totally leaves mine in the dust, and I designed the damn thing!)
Everything is just so sweet and just-right here: the knobs, the brushed aluminum label, the wood cheeks, the grommets padding out the LEDs, the labels—but also the little things, the visual balance among the elements, the use of different sizes of knob on different functions. Give it a look, then give it a listen. So rad!
Once again it’s that very special time of year when I remind you that it’s hella easy to make your own booze, appropriate for gift-giving or general drunkification. (That link goes to my time-tested E-Z DIY Limoncello recipe; make it now, give it during Xmas/Xanukah week, get super-popular in the Dark Days of the Unconquered Son/Sun)
Spent the holiday weekend chilling with friends, and we built a few Jitterbugs (tiny, super-simple, super-cheap robots that run away from light, cockroach-style). I’d totally forgotten how much fun these are. Here’s a video of my 4-year-old sitting in the closet with flashlights and competing at “reverse sumo” (first person out of the ring wins):
Here’s a set of Jitterbugs built by Stephen Trouvere and his boys, with the addition of LED eyes:
I love how those lil guys turned out! For the curious, all we’ve done is built the standard jitterbug, then taken a pair of regular ol’ red LEDs, wired them in parallel, buffered the positive lead with a 100Ω resistor (brown-black-brown stripes), and soldered the free resistor lead to the positive battery terminal, and the negative LED legs to the negative terminal (it’s the same way we wire up the LEDs in the “Switchbox” project in that same book).
I’m interested in artistic formulea of all stripes, so my ears perked up when I stumbled across this blog post exploring why it is that every pop song I hear as of late seems to feel the same, even when they sound totally different.The key: A little earwormy melodic alternation embedded into the hook.Here’s the article’s kick-out—although the whole thing (which is rife with video examples) is well worth your time:
[T]he Millennial Whoop evokes a kind of primordial sense that everything will be alright. You know these notes. You’ve heard this before. There’s nothing out of the ordinary or scary here. You don’t need to learn the words or know a particular language or think deeply about meaning. You’re safe. In the age of climate change and economic injustice and racial violence, you can take a few moments to forget everything and shout with exuberance at the top of your lungs. Just dance and feel how awesome it is to be alive right now. Wa-oh-wa-oh.
Having read this, I wondered how persuasive such a simply piece of patterning might be. So, in five minutes I sketched out this little tune and, whaddya know, it sounds like the outro of basically anything I’ve stumbled across while tuning across the dial during the last several long summer car trips:
For the curious, there’s literally nothing going on in this song: The left hand is just a straight C Major chord alternating with whatever you call that lazy F Major where, instead of actually moving your hand up, you just skooch your thumb and index fingers up one white key each, so that you pick up F Major’s F and B while keeping C anchored as the bottom note (maybe that’s an “inversion” of F Major?)The right hand, as per the “Millennial Whoop” formula, is alternating between the G and E two octaves up—i.e., the V and III in a progression where C is the root (i.e., I).The lyrics (which, depending on your speakers, might be hard to hear without headphones; I’m shit at mastering) are just whatever popped into my head, and the whole thing was recorded using my cellphone.The only “studio magic” (done in Garageband, and largely without any digital pixie dust) is “doubling the vocals” (see below—which is an excerpt form my book Junkyard Jam Band )—especially important in this instancebecause 1) I can’t sing for shit (which double-tracking tends to obscure) and 2) the mic on my cellphone didn’t pick up my voice particularly clearly, on account it was sitting on top of my keyboard’s speaker.Even if it had caught my singing, I likely would have doubled the vocals anyway (which are actually quadrupled by the end—listen with headphones, and you’ll hear two extra voices, slathered in “chorus” effect, that come in on the second round of Oh-ee-oh-ee-oh-ohs), since that sorta lush studio overkill is baked into this running-’til-the-break-of-dawn! summer-hit genre.
So what’s going here? Some of it is standard steampunk greebles (e.g., that faux wind-up key, the old vacuum tube being lit with a modern LED mounted behind it, some obtuse knob and mounting hardware choices), but the guts are a combination of totally legit early prototype circuits from my book (e.g., a four-step version of the Bleepbox Sequencer, of which only three of the steps can be pitch-controlled) and simple versions of a few others I hacked together on the spot (the voice is a stripped-down Single Chip Space Invader Synth driving a simplified Dirty-Cheap Amp).
Why did I do this? ’cause Emmy Jackson asked me to. Emmy is a really swell guy, and did me huge solids at both Motor City Steam and Penguicon (where he both handled book sales for me and the other authors on hand, and offered a safe space for my son if he should lose track of himself or get freaked out). He showed up at Motor City Steam with four rejected violin bodies, on the condition that I rework at least one to fit in with his Dieselpunk aesthetic. I gladly gave it my damndest (another instrument from this same weekend, the Diddley Fiddle, is still in development—as is, it’s a fine lil diddley bow, but damned if I don’t want it to be at least a tad more electromechanically rad-as-hell).
Here’s some video of me presenting the Non-Violins Synth to EmmyJ at Motor City Steam Con: