This is a commercial/charitable fundraising situation. The Humble Bundle folks and No Starch Press have bundled together a bunch of awesome books. Pay as little as $1 to get a few, $8 to get a bunch, and $15 to get them all. If you go in at the $15 level, you get ~$300 in books (all digital, all in multiple formats, all totally DRM-free, so you can read them however and wherever you like). It’s a really awesome deal (I bought plenty of Humble Bundles way before I ever was part of one—and, I’ll be straight with you: Being part of one as an author is a really big boon for me, too; my last Humble Bundle put an additional 30,000 copies of my book in front of eager makers, and helped me make enough money to stay afloat that year).
Even if you only drop a buck for the first five books, you’re getting some great stuff—Medieval LEGO is fun, the Scratch book is solid, and my son loved Lauren Ipsum (which is sort of a modern computer-science take on Phantom Tollbooth; he’s easily read it a half dozen times). Moving up to the $8 tier doesn’t just get you my book (which regularly sets you back ~$20), but also two of my favorite intro programming books (I learned Python from Teach Your Kids to Code, and Scratch Programming Playground is what taught my kid to code) and a really great manga book that’ll explain electricity to anyone. And, of course, going whole hog just piles on the awesomeness (again, I’m especially pleased to see a couple DIY hands-on electronics books here, especially since Arduino has gotten so dirt-cheap to get into). Every purchase doesn’t just benefit my publisher and me, but also Teach for America.
I love a lot of things about both this Carnaval Sauvage de Bruxelles thang and Arthur’s contribution to it, bot most of all I love their costumes. When I was very little my mother was a docent at the Detroit Institute of Arts, and so my earliest memories are of that museum, and especially their collections of Native American and African ritual art and “material culture.” I’ve always loved the dance costumes they have in their collection (similar to those shown below, which are in the AIC), and the dances that went with them, which were exuberant and otherworldly to me (much like the sounds that I like to dig out of unsuspecting electronics).
Arthur also pointed me to a few of his fellow Brusselers (Brusselman? Brusselsprouts?) similarly pushing out into the fringes of the Good Noise. I’m loving this!
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!
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: