I’ll level with you: This is going to be a hoot. It’s a good book, it reads well, and I’m moderately hilarious. I’ll bring snackies of some sort.
Nonetheless, I’m totally dubious about my capacity to draw an audience. Therefore, I’m running two contests(!!!) associated with this event:
CONTEST: If you are the one and only person who shows up you get a free book, a personal reading, and a free drink at the nearest bar!
BONUS CONTEST: If the number of attendees exceeds the number of fingers I have (total), I will additionally read from the novel of y’all’s choosing. No reasonable request refused!
2. Good Noise in the Loud Lab!
On October 28 I’ll be the featured artist in the Sonic Workshop at the Ann Arbor Hands on Museum from noon until 4pm . I’ll be running my “Loud Lab,” which includes a special installation of the Slinky Sound Forest, weird homebrew instruments and freak-out noisetoys you can rock out on, and an opportunity to craft your own weird noise-music-thingies under my dubious tutelage. Details:
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!
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: